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<title>Trio Uchida-Crozman-Chiu &#8226; Saturday, December 6, 2025 • 7:30pm</title>
	<meta name="description" content="Violinist Robert Uchida, cellist Cameron Crozman, and pianist Philip Chiu take the stage together for a program of elegance and charm." />
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	<meta property="og:title" content="Trio Uchida-Crozman-Chiu &#8226; Saturday, December 6, 2025 • 7:30pm" />
	<meta property="og:description" content="Join us for an evening of profound emotion and stunning artistry as violinist Robert Uchida, cellist Cameron Crozman, and pianist Philip Chiu come together for a program that spans diverse musical landscapes. These three musicians—each a multiple prize winner and a Halifax audience favourite—bring to life Sergei Rachmaninoff’s &quot;Trio élégiaque No. 1 in G minor,&quot; a work of haunting beauty and expressive depth, alongside Olivier Messiaen’s transcendent &quot;Louange à l’Éternité de Jésus&quot; and &quot;Louange à l’immortalité de Jésus,&quot; both of which offer meditative reflections on eternity and immortality. Japanese composer Toru Takemitsu’s &quot;Between Tides&quot; adds atmospheric textures, evoking the natural world with its evocative sounds. The program also features Maurice Ravel’s &quot;Piano Trio in A Minor,&quot; a masterpiece blending French elegance with emotional depth and harmonic innovation. With the virtuosic talents of Uchida, Crozman, and Chiu, this performance promises to be a compelling exploration of both timeless and contemporary works. Season Sponsor: Nice Moves / Red Door Realty." />
	<meta property="og:url" content="https://www.ceciliaconcerts.ca/concert/trio-uchida-crozman-chiu/" />
	<meta property="og:site_name" content="Cecilia Concerts | Halifax, Nova Scotia" />
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	<meta property="article:modified_time" content="2025-11-29T23:10:27+00:00" />
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	<meta name="twitter:title" content="Trio Uchida-Crozman-Chiu &#8226; Saturday, December 6, 2025 • 7:30pm" />
	<meta name="twitter:description" content="Join us for an evening of profound emotion and stunning artistry as violinist Robert Uchida, cellist Cameron Crozman, and pianist Philip Chiu come together for a program that spans diverse musical landscapes. These three musicians—each a multiple prize winner and a Halifax audience favourite—bring to life Sergei Rachmaninoff’s &quot;Trio élégiaque No. 1 in G minor,&quot; a work of haunting beauty and expressive depth, alongside Olivier Messiaen’s transcendent &quot;Louange à l’Éternité de Jésus&quot; and &quot;Louange à l’immortalité de Jésus,&quot; both of which offer meditative reflections on eternity and immortality. Japanese composer Toru Takemitsu’s &quot;Between Tides&quot; adds atmospheric textures, evoking the natural world with its evocative sounds. The program also features Maurice Ravel’s &quot;Piano Trio in A Minor,&quot; a masterpiece blending French elegance with emotional depth and harmonic innovation. With the virtuosic talents of Uchida, Crozman, and Chiu, this performance promises to be a compelling exploration of both timeless and contemporary works. Season Sponsor: Nice Moves / Red Door Realty." />
	<meta name="twitter:image" content="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/06/Cecilia-Concerts-Classical-Music-Halifax-Nova-Scotia-Trio-Uchida-Crozman-Chiu.jpg" />
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.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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</style>
<link rel='stylesheet' id='edsanimate-animo-css-css' href='https://www.ceciliaconcerts.ca/wp-content/plugins/animate-it/assets/css/animate-animo.css?ver=6.8.3' type='text/css' media='all' />
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<link rel='stylesheet' id='woocommerce-events-front-style-css' href='https://www.ceciliaconcerts.ca/wp-content/plugins/fooevents/css/events-frontend.css?ver=1.20.16' type='text/css' media='all' />
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<style id='woocommerce-inline-inline-css' type='text/css'>
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</style>
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font-size: 9px!important;
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#product_wrapper2 .details_product_item a.button {
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.is-sticky header#kad-banner {
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}

.container.virtue_sitewide_banner {
background: #FFF;
width: 100%;
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.virtue_banner {
max-width: 300px;
margin: auto;
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@media (max-width: 599px){
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}

@media (max-width: 767px){
div#pg-w62e27cbe9972c-4 .textwidget > p > a.kad-btn{
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.tickets .details_product_item a.button {
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.sensory-accessible-concerts .product_item .price {
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.musician-in-residence .product_item .price {
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.composer-in-residence .details_product_item a.button {
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.home .product_item .details_product_item a.button {
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.concerts .product_item .details_product_item a.button {
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.page-id-8605 .details_product_item a.button {
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.product .kad_add_to_cart, .product .single_add_to_cart_button {
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.page-id-8605 .product_item .details_product_item a.button:hover {background-color:#d7714a
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.red-menu a { color: #d6552d !important; }
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#nav-main ul.sf-menu ul li a,
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.contentclass {
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#containerfooter {
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.home .product_item .details_product_item a.button:hover {background-color:#d7714a}

footer .container {
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}

#kad-banner .container {
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.site-footer-wrap .site-container {
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.hrule_dots {
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@media (min-width: 992px) {
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}

.sf-menu a {
padding: 10px;
}

.main-page-2018-19 .product_item .price {
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.single-product .product_item .price {
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#nav-main ul.sf-menu ul#kad-head-cart-popup .buttons .button {
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<li class=""><a href="#sctab122" rel="nofollow">À PROPOS-FR</a></li>
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<h1><strong>Trio Uchida-Crozman-Chiu</strong></h1>
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<h5><strong>			<i class="icon-calendar " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				SATURDAY, DECEMBER 6, 2025 • 7:30PM</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>
				HALIFAX, NOVA SCOTIA</strong></h5>
<h5><strong>			<i class="icon-accessibility2 " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				WHEELCHAIR ACCESSIBLE</strong></h5>
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<h4>About this Concert</h4>
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<p>Join us for an evening of profound emotion and stunning artistry as violinist Robert Uchida, cellist Cameron Crozman, and pianist Philip Chiu come together for a program that spans diverse musical landscapes. These three musicians—each a multiple prize winner and a Halifax audience favourite—bring to life Sergei Rachmaninoff’s "Trio élégiaque No. 1 in G minor," a work of haunting beauty and expressive depth, alongside Olivier Messiaen’s transcendent "Louange à l’Éternité de Jésus" and "Louange à l’immortalité de Jésus," both of which offer meditative reflections on eternity and immortality. Japanese composer Toru Takemitsu’s "Between Tides" adds atmospheric textures, evoking the natural world with its evocative sounds. The program also features Maurice Ravel’s "Piano Trio in A Minor," a masterpiece blending French elegance with emotional depth and harmonic innovation. With the virtuosic talents of Uchida, Crozman, and Chiu, this performance promises to be a compelling exploration of both timeless and contemporary works. Season Sponsor:<span class="gmail-Apple-converted-space"> <a href="https://www.reddoorrealty.ca/our-realtors/jules-chamberlain/" target="_blank" rel="noopener">Nice Moves / Red Door Realty</a>.</span></p>
<p><i>This performance is made possible with the generous support of Deborah Fraser.<br />
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<h5 style="text-align: justify;"><strong>			<i class="icon-users " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				ARTISTS</strong>: Robert Uchida, violin; Cameron Crozman, cello; Philip Chiu, piano</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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<h4>About the Program</h4>
<p>&nbsp;</p>
<p><strong>Sergei Rachmaninoff</strong> (1873–1943)<br />
<strong><em>Trio élégiaque No. 1</em> in G minor</strong></p>
<p style="text-align: justify;">Sergei Rachmaninoff was born into the Russian aristocracy on one of his father’s estates. There was music on both sides of his family, and he began to study piano with his mother as a four-year-old. He showed such promise that the family engaged a recent graduate of the St. Petersburg Conservatory to live with the family and tutor young Sergei in his music studies. When the family fortunes declined due to Rachmaninoff’s father’s financial incompetence, the family moved to an apartment in St. Petersburg, and ten-year-old Sergei entered the Conservatory there. He was not a good student; he frequently played truant, failed some courses and altered the grades on his report card. So, at age twelve, his family transferred him to the Moscow Conservatory where he studied for the next seven years under stricter circumstances and with much greater success. While he was still in St. Petersburg, Rachmaninoff’s elder sister, Yelena, had introduced him to the music of Pyotr Ilyich Tchaikovsky. This music was to become a lifelong influence. It may have intensified when, in 1892, Tchaikovsky attended a performance of a one-act opera, “Aleko,” which Rachmaninoff had written as a composition project and praised the young student for his work.</p>
<p style="text-align: justify;">Rachmaninoff wrote two elegiac trios while at the Moscow Conservatory. The second, composed in late 1893, is clearly a tribute written to mourn the death of Tchaikovsky, the composer that Rachmaninoff saw as a mentor. “Trio élégiaque No. 1,” composed in January 1892, is a tribute in another way. It is cast in a single long movement, with pronounced similarities to the first movement of Tchaikovsky’s ‘Piano Trio in A minor,” composed in 1882. Tchaikovsky’s long first movement was called “Pezzo elegiaco” (Elegiac Piece), and like it, Rachmaninoff’s “Elegiac Trio” ends with a funeral march. There are other points of reference to Tchaikovsky, but the Trio’s powerful sweep, along an arc of growing animation before the sombre close, is pure Rachmaninoff.</p>
<p>&nbsp;</p>
<p><strong>Tōru Takemitsu</strong> (1930–1996)<br />
<strong><em>Between Tides</em></strong></p>
<p style="text-align: justify;">Tōru Takemitsu was born in Tokyo in October 1930. Shortly before his fourteenth birthday, he was conscripted into the Japanese army. This experience changed the direction of his life. For one thing, it led him to distance himself from the traditional music of his native Japan since Japanese traditional music "always recalled the bitter memories of war". Second, it was during his term in military service that Takemitsu was introduced to Western classical music, which he listened to with fellow soldiers in secret; they would play it on a gramophone with a makeshift needle fashioned from bamboo. After the war, he listened to as much western music as he could on the U.S. Armed Forces network, and at age sixteen, he committed himself to becoming a composer, because “in music I found my raison d'être as a man. After the war, music was the only thing.” Takemitsu remained largely self-taught throughout his career, yet, despite his lack of formal musical education, he succeeded. He published an enormous amount of music – including over a hundred film scores – in a wide range of styles and genres. Conductor Seiji Ozawa writes: "I am very proud of my friend Toru Takemitsu. He is the first Japanese composer to write for a world audience and achieve international recognition.”</p>
<p style="text-align: justify;">“Between Tides” was completed in 1993, just three years before Takemitsu's death. It is Takemitsu at his most characteristic. The influence of the French Impressionists is easily recognized, but Takemitsu's sensuality has a more meditative feel to it. Many of his works are about water. “Between Tides,” true to its title, ebbs and flows unstoppably, but Takemitsu prevents the music from drifting into merely impressionistic prettiness by grounding it with recurring motifs, textures, and patterns. Debussy's “La mer” depicts the sea in all its moods. Takemitsu's piece does the same, but with his own unique and intimate voice.</p>
<p>&nbsp;</p>
<p><strong>Olivier Messiaen</strong> (1908–1992)<br />
<em><strong>Quatuor pour la fin du temps</strong> </em><br />
V. "Louange à l’Éternité de Jésus"</p>
<p style="text-align: justify;">Olivier Messiaen was born into a literary family in Avignon. His mother was an established poet, his father published a French translation of Shakespeare’s works, and his younger brother also became a poet. Messiaen began to study music as a young child and entered the Conservatoire de Paris when he was eleven. During his decade of studies there, he won prizes in piano performance, music history, organ performance and improvisation, and composition. Upon graduation in 1931, he was appointed organist at the Église de la Sainte-Trinité, a position he held for over sixty years. He also began teaching at the prestigious Schola Cantorum de Paris. He was active in Paris’ artistic circles, helping to found the group, “La Jeune France,” a movement that decried the frivolity of contemporary French music in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness.” In addition, he composed steadily. When World War II broke out, Messiaen was drafted into the French Army as a medical auxiliary. He was captured at Verdun and sent to a prisoner of war camp in Poland. It was at Stalag VIII-A that Messiaen met a clarinetist, a violinist and a cellist, all fellow prisoners. With the help of a sympathetic German guard, Messiaen was able to obtain some paper and a small pencil. He wrote a trio for these three which later was incorporated into a larger piece, “Quartet for the End of Time.”</p>
<p style="text-align: justify;">“Quartet for the End of Time” has been called one of the most important chamber works of the Twentieth Century. It was composed in its entirety in the German prisoner of war camp and premiered there for an audience of prisoners and guards in January 1941. It consists of eight movements, some of which are revisions of earlier compositions. The fifth movement, “Louange à l’Éternité de Jésus", scored for cello and piano, for example, is a reworking of “L’eau”, from the 1937 composition, “Fetes des belles eaux.”</p>
<p>&nbsp;</p>
<p><strong>Olivier Messiaen</strong> (1908–1992)<br />
<strong><em>Quatuor pour la fin du temps </em></strong><br />
VIII. "Louange à l’immortalité de Jésus"</p>
<p style="text-align: justify;">Music scholar Eric Brahinsky wrote of Olivier Messiaen: “The music of Messiaen tends to be very striking on first hearing. It is often ethereal, but never dainty or frilly. Sometimes powerful, it is never harsh or ugly. The music often displays a feeling of hovering between tonalities without sounding unstable; chords unheard of in common-practice harmony are used extensively, but rarely does the music sound dissonant.” This is an apt description of the closing movement of “Quartet for the End of Time.” The Quartet consists of eight movements and is scored for clarinet, violin, cello and piano simply because these were the four musicians and instruments available to him in the prisoner of war camp where the piece was composed. It was inspired by a reading of the Book of Revelation: “And the angel which I saw stand upon the sea and upon the earth lifted up his hand to heaven, and sware by him that liveth for ever and ever ... that there should be time no longer.” Scored for violin and piano, “Praise to the Immortality of Jesus”, is a direct counterpart to the fifth movement written for cello and piano. Regarding this final movement, Messiaen noted, “Its slow ascent to the acutely extreme is the ascent of man to his god, the child of God to his Father, the being made divine towards Paradise.” Olivier Messiaen was a devout Catholic, but his theology concentrated on joy, divine love and redemption, a view that informed this music.</p>
<p>&nbsp;</p>
<p style="text-align: justify;"><strong>Maurice Ravel</strong> (1875–1937)<br />
<em><strong>Piano Trio in A minor</strong></em><br />
I. Modéré<br />
II. Pantoum (Assez vif)<br />
III. Passacaille (Très large)<br />
IV. Finale (Animé)</p>
<p style="text-align: justify;">Maurice Ravel was born in Ciboure, France, a Basque town eighteen kilometres from the Spanish border. His mother, also Basque, had been raised in Madrid. While the Ravel family moved to Paris before young Maurice was six months old, the Spanish influence shows up in his music time and again. It is the basis of his most familiar piece, “Bolero,” as well as “Rapsodie espagnole,” “Alborado del gracioso,” and “L’heure espagnole.” As a child, he was sensitive to music and loved the Spanish folk songs that his mother sang to him. He began to play piano at age seven and went on to study composition and harmony in his early teens, receiving a grounding in classical Western forms. In fact, his earliest compositions were variations on music of Schumann and Grieg. By the time he was in his twenties, after his studies at the Paris Conservatory, he was well established as a musician in Paris circles.</p>
<p style="text-align: justify;">Ravel was known as a painstaking craftsman as well as an innovator. He began work on the “Piano Trio in A minor” in March of 1914 and early in the summer, he remarked to a friend, "I’ve written my trio. Now all I need are the themes." The traditional four movement structure was in place. He spent much of the summer working on the Trio while staying in the French Basque commune of Saint-Jean-de-Luz, near his birthplace. While he was working on the Trio, he was sketching material for a piano concerto based on Basque themes. Although the piano concerto was never completed, some of the Basque themes found their way into the opening movement of the Trio, which, Ravel noted, was “Basque in colouring”. The second movement is labelled, “Pantoum” after the Malaysian poetic form that uses a system of interlocking lines. Ravel reflects the poetic form in the way he develops the movement’s two themes in alternation. The Passacaglia is the emotional heart of the work. The melody is passed between the three instruments, building to a powerful climax, then dying away. The final movement has an almost orchestral expanse. It is grand, stirring music composed on the eve, and in the shadow, of the First World War.</p>
<p><em>Program notes by Larry Bent</em></p>
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<h4>About the Artists</h4>
<p>&nbsp;</p>
<p style="font-weight: 400;"><strong>Robert Uchida</strong>, violin</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 concerto soloist with orchestras including the Alberta Baroque Ensemble, Edmonton Symphony, Kingston Symphony, Ottawa Symphony, Red Deer Symphony, Symphony New Brunswick, Symphony Nova Scotia, Orchestre de la Francophonie, and the National Arts Centre Orchestra of Canada.</p>
<p style="font-weight: 400; text-align: justify;">Robert is Artistic Director of the Longshadow Music Festival in Yellowknife, Northwest Territories. He 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 the "Dawes, de Long Tearse" Guadagnini violin with Vision Solo Titanium strings by Thomastik-Infeld Vienna.</p>
<p>&nbsp;</p>
<p style="font-weight: 400; text-align: justify;"><strong>Cameron Crozman</strong>, cello</p>
<p class="" style="text-align: justify;">With a rich imagination and a keen mind” (Diapason Magazine), Canadian cellist Cameron Crozman leads an active performing career as a soloist and chamber musician in Canada, the USA, and Europe. He has appeared as a soloist with the Orchestre National d'Ile-de-France (Paris), Montreal, Winnipeg, Hamilton, and Vancouver Island Symphonies among others, and performances have taken him everywhere from the Philharmonie de Paris and the Shanghai Oriental Arts Centre, to the Qidi Vidi Brewery of St. John’s, Newfoundland<em>.</em> An avid collaborator and chamber musician, Cameron shares the stage with eminent artists such as James Ehnes, Augustin Hadelich, Louis Lortie, Gérard Caussé, James Campbell, and members of the Ébène, New Zealand, and Penderecki String Quartets.</p>
<p class="" style="text-align: justify;">Winner of the 2021 Canada Council for the Arts Virginia Parker Prize, the Council’s largest award for emerging classical musicians, Cameron was CBC/Radio-Canada’s 2019 Classical Revelation artist and a laureate of Gautier Capuçon’s Classe d’Excellence at the Louis Vuitton Foundation in Paris. Cameron’s debut album, <em>Cavatine</em>, recorded on the ca. 1696 “Bonjour” Stradivarius cello with pianist Philip Chiu, was released in 2019 and described by the French publication Classica Magazine as displaying “technical perfection with a personal style that leaves us wanting to hear more.” He has since recorded a number of CDs for the labels ATMA Classique in Canada and Printemps des Arts de Monte-Carlo in Monaco. His most recent release from May 2024 of the Haydn Cello Concertos and Jacques Hétu’s Rondo performed with Les Violons du Roy and conductor Nicolas Ellis has garnered international praise. Cameron’s performances are broadcast on CBC, BBC, RTÉ Radio, Radio France, and Medici.tv.</p>
<p class="" style="text-align: justify;">Deeply committed to the music of today, Cameron is active in leading projects commissioning and premiering new music by some of Canada’s most recognized composers including Alexina Louie, Allan Gordon Bell, Liam Ritz, James O’Callaghan, and Kelly-Marie Murphy. After studies in Canada with Paul Pulford, Cameron was a student at the Paris Conservatoire and received his “Prix de violoncelle” with highest honours studying in the class of Michel Strauss and chamber music with Claire Désert and Ami Flammer. In 2018, he received a one year mentorship with violinist James Ehnes as part of the André-Bourbeau award from the Jeunesses Musicales Canada. Passionate about teaching the next generation, he has been invited to give masterclasses at the Académie Rainier III in Monaco, Lawrence University (Wisconsin), University of Montreal, Conservatorio Superior de Música Joaquín Rodrigo Valencia, and the Escola Superior de Music de Lisboa, among others.</p>
<p class="" style="text-align: justify;">Alongside his performing activities, Cameron finds himself abosrbed by the rewarding challenges of producing concerts and musical events. He is co-founder of ClassicalValley, a festival bringing together chamber music and wine in Okanagan Valley of British Columbia, Canada, and along with pianist Meagan Milatz, produces a series of chamber music concerts in Montreal called “HausMusique” in one of North America’s landmark Art Deco spaces, the Grande Salle of 9th floor of the Eaton Centre.</p>
<p class="" style="text-align: justify;">Since 2024, he has had the incredible joy to work alongside one of his musical heroes, James Campbell, as Assistant Artistic Director of the Festival of the Sound, among Canada’s premiere classical music festival now in it’s 46th year. Cameron is also grateful to have the chance to work together with his father by organizing chamber music concerts in Llíria, Spain, designated a Creative City of Music by the UNESCO (and share their enjoyment for Spanish culture, food, and wine 🍷).</p>
<p class="" style="text-align: justify;">Cameron currently plays on a c. 1750 Gennaro Gagliano cello, on loan from the Canada Council for the Arts Instrument Bank and a bow by Georges Léon Lamy generously provided by the company CANIMEX INC. of Drummondville, Québec.</p>
<p>&nbsp;</p>
<p style="font-weight: 400; text-align: justify;"><strong>Philip Chiu</strong>, piano</p>
<p style="font-weight: 400; text-align: justify;">Renowned for his “pianist-painter” artistry that transforms sound into vivid colour (La Presse), Philip Chiu is recognized as one of Canada’s most distinctive pianists, celebrated for his brilliant technique, poetic sensibility, and captivating stage presence. Winner of the 2023 JUNO Award for Best Classical Solo Album and the first-ever recipient of the Mécénat Musica Prix Goyer, one of Canada’s largest classical music prizes, he has earned a reputation for performances that combine virtuosic mastery with an instinctive ability to create genuine connections with audiences.</p>
<p style="font-weight: 400; text-align: justify;">A sought-after soloist and chamber musician, Chiu has performed across Canada, the United States, Japan, and France, appearing in major venues and festivals and collaborating with many of today’s foremost artists, including James Ehnes, Emmanuel Pahud, Régis Pasquier, Noah Bendix-Balgley, Bomsori Kim, Johannes Moser, and the New Orford String Quartet. His longstanding duo with violinist Jonathan Crow has become beloved among chamber music audiences, and his commitment to bringing music to communities nationwide is reflected in more than fourteen extensive cross-Canada tours with Prairie Debut, Jeunesses Musicales Canada, and Debut Atlantic.</p>
<p style="font-weight: 400; text-align: justify;">Chiu’s discography underscores both his deep affinity for the classical tradition and his dedication to amplifying contemporary voices. His JUNO-winning album “<em>Fables”</em> (ATMA Classique) and its successor “<em>Voyages”</em>—a tribute to his birthplace of Hong Kong—form part of an ambitious triptych project weaving works by Ravel and Debussy with new commissions from Canadian composers such as Anishinaabekwe artist Barbara Assiginaak and Alice Ping Yee Ho. He has also recorded John Burge’s “<em>24 Preludes for Solo Piano”</em> (Centrediscs), “<em>Tapeo”</em> with cellist Cameron Crozman (ATMA), “<em>Night Light”</em> with flautist Lara Deutsch (Leaf Music), and a collaboration with Pentaèdre honoring Jacques Hétu. His recordings for labels including ATMA Classique, Warner Music, Analekta, Leaf Music, and Centrediscs are frequently broadcast on BBC Radio 3, France Musique, ICI Musique, and CBC Music.</p>
<p style="font-weight: 400; text-align: justify;">Authentic, imaginative, and deeply human, Philip Chiu continues to redefine what it means to be a classical pianist in the 21st century—an artist whose performances invite listeners on an emotional journey while affirming his role as both a cultural storyteller and a leading ambassador for Canadian music.</p>
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<h3><strong>Trio Uchida-Crozman-Chiu</strong></h3>
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				SAMEDI 6 DECEMBRE 2025 • </strong><strong>19h30</strong></h5>
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				STAGE AT ST. ANDREWS • 6036 COBURG RD</strong></h5>
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				HALIFAX, NOUVELLE-ÉCOSSE</strong></h5>
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				ACCESSIBLE EN FAUTEUIL ROULANT</strong></h5>
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<h4>À propos de ce concert</h4>
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<p style="text-align: justify;">Le violoniste Robert Uchida, le violoncelliste Cameron Crozman et le pianiste Philip Chiu se réunissent pour une soirée d'émotion profonde et d'art époustouflant, dans le cadre d'un programme qui couvre divers paysages musicaux. Ces trois musiciens - tous lauréats de plusieurs prix et favoris du public de Halifax - donnent vie au Trio élégiaque no 1 en sol mineur de Sergei Rachmaninoff, une œuvre d'une beauté obsédante et d'une grande profondeur expressive, aux côtés des transcendantes Louange à l'Éternité de Jésus et Louange à l'immortalité de Jésus d'Olivier Messiaen, qui offrent toutes deux des réflexions méditatives sur l'éternité et l'immortalité. L'œuvre « Between Tides » du compositeur japonais Toru Takemitsu ajoute des textures atmosphériques, évoquant le monde naturel par ses sons évocateurs. Le programme comprend également le « Trio pour piano en la mineur » de Maurice Ravel, un chef-d'œuvre qui allie l'élégance française à la profondeur émotionnelle et à l'innovation harmonique. Grâce aux talents virtuoses d'Uchida, Crozman et Chiu, ce concert promet d'être une exploration passionnante d'œuvres à la fois intemporelles et contemporaines. Sponsor de la saison :<span class="gmail-Apple-converted-space"> <a href="https://www.reddoorrealty.ca/our-realtors/jules-chamberlain/" target="_blank" rel="noopener">Nice Moves / Red Door Realty.</a></span></p>
<p><i>Cette représentation est rendue possible grâce au soutien généreux de Deborah Fraser.</i></div>
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				</strong><strong>ARTISTES </strong>: Robert Uchida, violon ; Cameron Crozman, violoncelle ; Philip Chiu, piano</h5>
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				SÉRIE DE CONCERTS SUR LA SCÈNE PRINCIPALE</strong></h5>
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<h4>À propos du programme</h4>
<p>&nbsp;</p>
<p><strong>Sergei Rachmaninoff</strong> (1873–1943)<br />
<strong><em>Trio élégiaque no 1</em> en sol mineur</strong></p>
<p class="p1" style="text-align: justify;">Serge Rachmaninov est né dans l’aristocratie russe sur l’un des domaines de son père. La musique était présente dans les deux branches de sa famille, et il a commencé l’étude du piano avec sa mère à l’âge de quatre ans. Ses talents étaient tels que la famille a engagé un récent diplômé du Conservatoire de Saint-Pétersbourg pour vivre avec eux et enseigner la musique au jeune Serge. Quand la situation financière familiale s’est détériorée en raison de l’incompétence du père, la famille a déménagé dans un appartement à Saint-Pétersbourg, et Serge, âgé de dix ans, est entré au Conservatoire. Il n’était pas un bon élève, il séchait régulièrement les cours, a échoué à certaines matières et a même modifié les notes sur son bulletin. À douze ans, sa famille l’a donc transféré au Conservatoire de Moscou, où il a étudié pendant les sept années suivantes dans un cadre plus strict et avec beaucoup plus de réussite. Pendant qu’il était encore à Saint-Pétersbourg, sa sœur aînée, Yelena, lui avait fait découvrir la musique de Piotr Ilitch Tchaïkovski. Cette musique est devenue une influence durable dans sa vie. Cette influence a peut-être grandi en 1892 lorsque Tchaïkovski a assisté à une représentation d’un opéra en un acte, « Aleko », écrit par Rachmaninov dans le cadre d’un projet de composition, et a félicité le jeune compositeur.</p>
<p class="p1" style="text-align: justify;">Rachmaninov a écrit deux trios élégiaques alors qu’il étudiait au Conservatoire de Moscou. Le deuxième, composé à la fin de 1893, est clairement un hommage écrit en réaction à la mort de Tchaïkovski, que Rachmaninov voyait comme un mentor. Le « Trio élégiaque no 1 », composé en janvier 1892, est un hommage d’un autre ordre. L’œuvre est construite en un seul long mouvement, avec des ressemblances marquées avec le premier mouvement du « Trio pour piano en la mineur » de Tchaïkovski, composé en 1882. Le long premier mouvement de Tchaïkovski portait le titre « Pezzo elegiaco », et comme lui, le Trio de Rachmaninov se termine par une marche funèbre. On y retrouve d’autres allusions à Tchaïkovski, mais l’élan et la puissance qui parcourent l’œuvre jusqu’à sa conclusion sombre sont typiquement rachmaninoviens.</p>
<p>&nbsp;</p>
<p class="p1"><strong>Tōru Takemitsu</strong> (1930–1996)<br />
<em><strong>Between Tides</strong></em></p>
<p class="p1" style="text-align: justify;">Tōru Takemitsu est né à Tokyo en octobre 1930. Peu avant ses quatorze ans, il a été enrôlé de force dans l’armée japonaise. Cette expérience a transformé sa vie. Elle l’a poussé à se distancer de la musique traditionnelle japonaise, qui lui rappelait les souvenirs amers de la guerre. Pendant son service, il a découvert la musique classique occidentale, qu’il écoutait en secret avec d’autres soldats, sur un gramophone muni d’une aiguille improvisée en bambou. Après la guerre, il a écouté autant de musique occidentale que possible sur le réseau des Forces armées américaines, et à seize ans, il a décidé de devenir compositeur, déclarant que la musique était devenue sa raison d’être. Takemitsu est resté largement autodidacte. Malgré son absence de formation académique, il a eu une carrière marquante. Il a publié un vaste catalogue, dont plus d’une centaine de musiques de films, couvrant une large gamme de styles. Le chef d’orchestre Seiji Ozawa a écrit : « Je suis fier de mon ami Toru Takemitsu. Il est le premier compositeur japonais à écrire pour un public mondial et à atteindre une reconnaissance internationale. »</p>
<p class="p1" style="text-align: justify;">« Between Tides », terminé en 1993, seulement trois ans avant sa mort, reflète pleinement sa manière. L’influence des impressionnistes français y est évidente, mais la sensualité de Takemitsu y prend une dimension plus méditative. L’eau est un thème récurrent dans son œuvre. « Between Tides », fidèle à son titre, progresse en flux et reflux, mais Takemitsu évite une simple atmosphère impressionniste en ancrant la musique par des motifs et textures récurrents. Comme « La mer » de Debussy, l’œuvre évoque les multiples visages de l’eau, mais avec une voix personnelle et intime.</p>
<p>&nbsp;</p>
<p class="p1" style="text-align: justify;"><strong>Olivier Messiaen</strong> (1908–1992)<br />
<em><strong>Quatuor pour la fin du temps<br />
</strong></em>V. « Louange à l’Éternité de Jésus »</p>
<p class="p1" style="text-align: justify;">Olivier Messiaen est né dans une famille de littéraires à Avignon. Sa mère était une poète reconnue, son père a publié une traduction française des œuvres de Shakespeare, et son frère cadet est aussi devenu poète. Messiaen a commencé l’étude de la musique dans son enfance et est entré au Conservatoire de Paris à l’âge de onze ans. Pendant sa décennie d’études, il a remporté des prix en piano, histoire de la musique, orgue, improvisation et composition. À sa graduation, en 1931, il a été nommé organiste à l’Église de la Sainte-Trinité, poste qu’il a occupé pendant plus de soixante ans. Il a aussi commencé à enseigner à la Schola Cantorum de Paris. Il était actif dans les milieux artistiques et a participé à la fondation du groupe « La Jeune France », qui rejetait la frivolité de la musique française contemporaine au profit d’une musique vivante guidée par la sincérité, la générosité et la conscience artistique. En parallèle, il composait régulièrement. Quand la Seconde Guerre mondiale a éclaté, Messiaen a été mobilisé comme auxiliaire médical. Il a été capturé à Verdun et envoyé dans un camp de prisonniers en Pologne. C’est au Stalag VIII-A qu’il a rencontré un clarinettiste, un violoniste et un violoncelliste, tous prisonniers. Avec l’aide d’un garde allemand compatissant, il a obtenu du papier et un petit crayon. Il y a composé un trio pour ces trois musiciens, trio qui sera plus tard intégré dans une œuvre plus vaste, le « Quatuor pour la fin du temps ».</p>
<p class="p1" style="text-align: justify;">Le « Quatuor pour la fin du temps » est considéré comme l’un des grands chefs-d’œuvre de la musique de chambre du vingtième siècle. Il a été composé entièrement dans le camp de prisonniers et créé là, devant un public de prisonniers et de gardes, en janvier 1941. L’œuvre comprend huit mouvements, dont certains dérivent de compositions antérieures. Le cinquième mouvement, « Louange à l’Éternité de Jésus », pour violoncelle et piano, est une révision du morceau « L’eau » issu de « Fêtes des belles eaux » (1937).</p>
<p>&nbsp;</p>
<p class="p1" style="text-align: justify;"><strong>Olivier Messiaen</strong> (1908–1992)<br />
<strong><em>Quatuor pour la fin du temps<br />
</em></strong>VIII. « Louange à l’immortalité de Jésus »</p>
<p class="p1" style="text-align: justify;">Le musicologue Eric Brahinsky a écrit à propos de Messiaen : « La musique de Messiaen frappe dès la première écoute. Elle est souvent éthérée, mais jamais fragile. Parfois puissante, mais jamais dure ou laide. Elle donne souvent l’impression de flotter entre des tonalités sans paraître instable. Des accords inconnus de l’harmonie traditionnelle y sont fréquents, mais rarement la musique semble dissonante. » Cette description correspond bien au dernier mouvement du « Quatuor pour la fin du temps ». L’œuvre est écrite pour clarinette, violon, violoncelle et piano, simplement parce que ce sont les instruments et musiciens présents dans le camp de prisonniers. Elle s’inspire d’un passage de l’Apocalypse : « L’ange […] jura par celui qui vit aux siècles des siècles […] qu’il n’y aurait plus de temps. » Le mouvement final, « Louange à l’immortalité de Jésus », pour violon et piano, répond directement au cinquième mouvement pour violoncelle et piano. Messiaen a noté au sujet de cette conclusion : « Son ascension lente vers l’extrême aigu est l’ascension de l’homme vers son Dieu, de l’enfant de Dieu vers son Père, de l’être fait divin vers le Paradis. » Messiaen était un catholique fervent, et sa théologie centrée sur la joie, l’amour divin et la rédemption imprègne cette musique.</p>
<p>&nbsp;</p>
<p class="p1" style="text-align: justify;"><strong>Maurice Ravel</strong> (1875–1937)<br />
<strong><em>Trio pour piano en la mineur</em></strong><br />
I. Modéré<br />
II.Pantoum (assez vif)<br />
III. Passacaille (très large)<br />
IV. Finale (animé)</p>
<p class="p1" style="text-align: justify;">Maurice Ravel est né à Ciboure, une ville basque située à dix-huit kilomètres de la frontière espagnole. Sa mère, également basque, avait grandi à Madrid. Bien que la famille ait déménagé à Paris avant que Maurice n’ait six mois, l’influence espagnole revient fréquemment dans sa musique. Elle marque plusieurs de ses œuvres les plus connues, notamment « Boléro », « Rapsodie espagnole », « Alborada del gracioso » et « L’heure espagnole ». Enfant, il aimait la musique et affectionnait les chansons populaires espagnoles que sa mère lui chantait. Il a commencé le piano à sept ans et a ensuite étudié la composition et l’harmonie dans son adolescence, recevant une base solide en formes classiques occidentales. Ses premières œuvres étaient des variations sur Schumann et Grieg. Après ses études au Conservatoire de Paris, il était déjà bien établi dans les milieux musicaux.</p>
<p class="p1" style="text-align: justify;">Ravel était reconnu pour son travail minutieux et son esprit novateur. Il a commencé le « Trio pour piano en la mineur » en mars 1914. Au début de l’été, il disait à un ami : « J’ai écrit mon trio. Il ne me manque plus que les thèmes. » La structure en quatre mouvements était déjà fixée. Il a passé une grande partie de l’été à travailler sur l’œuvre pendant un séjour à Saint-Jean-de-Luz, près de son lieu de naissance. Durant ce travail, il esquissait aussi des idées pour un concerto pour piano basé sur des thèmes basques. Le concerto n’a jamais été achevé, mais plusieurs de ces thèmes ont trouvé leur place dans le premier mouvement du Trio, que Ravel qualifiait de « basque dans sa couleur ». Le deuxième mouvement, « Pantoum », doit son titre à une forme poétique malaisienne fondée sur l’entrelacement des vers. Ravel transpose cette idée en développant deux thèmes en alternance. La Passacaille constitue le cœur émotionnel du Trio. La mélodie circule entre les trois instruments, culmine, puis s’éteint. Le dernier mouvement a une ampleur quasi orchestrale. C’est une musique grande et animée, écrite à la veille de la Première Guerre mondiale.</p>
<p><em>Notes de programme par Larry Bent</em></p>
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<h4>À propos des artistes</h4>
<p>&nbsp;</p>
<p class="p1"><strong>Robert Uchida</strong>, violon</p>
<p class="p1" style="text-align: justify;">Le violoniste canadien Robert Uchida, violon solo de l’Edmonton Symphony Orchestra, mène une carrière diversifiée comme soliste, musicien d’orchestre, chambriste et pédagogue. Son premier enregistrement, la Sonata for Unaccompanied Violin d’Andrew Violette, a reçu des éloges internationaux. Le magazine Strings a souligné la beauté de son timbre, son éloquence et son intensité hypnotique.</p>
<p class="p1" style="text-align: justify;">Robert a été soliste avec de nombreux orchestres, dont l’Alberta Baroque Ensemble, l’Edmonton Symphony, le Kingston Symphony, l’Ottawa Symphony, le Red Deer Symphony, Symphony New Brunswick, Symphony Nova Scotia, l’Orchestre de la Francophonie et l’Orchestre du Centre national des Arts du Canada.</p>
<p class="p1" style="text-align: justify;">Il est directeur artistique du Longshadow Music Festival à Yellowknife, dans les Territoires du Nord-Ouest. Il a enseigné et joué dans plusieurs festivals en Amérique du Nord, dont l’Arizona MusicFest, le Banff International String Quartet Festival, le Jackson Hole Chamber Music, Music by the Sea, le National Academy Orchestra, le Young Artists Program du Centre national des Arts, le New Brunswick Summer Music Festival, le Rosebud Chamber Music Festival, le Scotia Festival, le Sewanee Music Festival et le Summer Solstice Music Festival. Il a aussi été directeur artistique de l’Acadia Summer Strings Festival de 2010 à 2013.</p>
<p class="p1" style="text-align: justify;">Avant de se joindre à l’Edmonton Symphony Orchestra, Robert était violon solo de Symphony Nova Scotia à Halifax. Il a participé à un enregistrement nommé aux prix Juno avec Sarah Slean, et a enregistré Requiem 21.5: Violin Concerto de Tim Brady, gagnant du prix Enregistrement classique de l’année aux East Coast Music Awards. Comme violon solo invité, il a collaboré avec le Kitchener-Waterloo Symphony, le Netherlands Radio Chamber Philharmonic, l’Ottawa Symphony, le Rotterdam Philharmonic, le Royal Flemish Philharmonic et le Vancouver Symphony Orchestra.</p>
<p class="p1" style="text-align: justify;">Pédagogue passionné, Robert enseigne le violon à l’Université de l’Alberta, et a occupé des postes d’enseignement à l’Université Acadia et au programme préuniversitaire de la Manhattan School of Music. Ses étudiants 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 jouent maintenant dans divers ensembles en Amérique du Nord et en Europe.</p>
<p class="p1" style="text-align: justify;">Robert détient une maîtrise en interprétation du violon de la Manhattan School of Music à New York et un baccalauréat de l’Université d’Ottawa. Ses enseignants et mentors incluent Andrew Dawes, Morry Kernerman, Patinka Kopec, Heratch Manoukian, David Stewart et Pinchas Zukerman.</p>
<p class="p1" style="text-align: justify;">Très engagé dans sa communauté, Robert est fier d’avoir été intronisé au Character Club de la Ronald McDonald House à Edmonton. Il joue sur le violon Guadagnini « Dawes, de Long Tearse », monté avec des cordes Vision Solo Titanium de Thomastik-Infeld Vienna.</p>
<p>&nbsp;</p>
<p style="font-weight: 400;"><strong>Cameron Crozman</strong>, violoncelle</p>
<p style="font-weight: 400; text-align: justify;">« D’une riche imagination et d’un esprit vif » (Diapason), le violoncelliste canadien Cameron Crozman se produit en tant que soliste et chambriste au Canada, aux Etats-Unis et en Europe. Invité en soliste avec l’Orchestre National d'Île-de-France (Paris), les Orchestres Symphoniques Montréal, Winnipeg, Hamilton et l'Île de Vancouver, il se produit aussi bien dans de grandes salles dont la Philharmonie de Paris ou le Centre d’art oriental de Shanghai qu’à des lieux insolites comme la brasserie “Qidi Vidi” à St-John’s. Avec un grand intérêt pour la musique de chambre, il partage la scène aux côtés d’éminents musiciens, dont James Ehnes, Augustin Hadelich, Louis Lortie, Gérard Caussé, James Campbell et des membres des Quatuors Ébène, Nouvelle-Zélande et Penderecki.</p>
<p style="font-weight: 400; text-align: justify;">Lauréat de la Bourse de carrière Fernand-Lindsay en 2024 et du prix Virginia Parker du Conseil des Arts du Canada 2021 Cameron a été Révélation Classique 2019 de Radio-Canada et lauréat de la Classe d'excellence de Gautier Capuçon à la Fondation Louis Vuitton à Paris. Il enregistre des albums salués par la critique sous les étiquettes ATMA Classique et Printemps des Arts de Monté-Carlo.</p>
<p style="font-weight: 400; text-align: justify;">Son premier album, « Cavatine », enregistré avec le violoncelle Stradivarius « Bonjour » de v. 1696 et en collaboration avec le pianiste Philip Chiu, est décrit par Radio-Canada comme “une parfaite transmission de l’essence de la musique moderne française”. Sa plus récente sortie de mai 2024, présente les deux Concertos de Haydn et le premier enregistrement du « Rondo » de Jacques Hétu, en collaboration avec Les Violons du Roy dirigé par Nicolas Ellis. Ses performances sont diffusées sur CBC, BBC, RTÉ Radio, Radio France et Medici.tv.</p>
<p style="font-weight: 400; text-align: justify;">Très engagé envers l’innovation dans le domaine de la musique, Cameron imagine constamment de nouvelles façon de partager son art avec le monde. Il commande et crée des nouvelles pièces à plusieurs importants compositeurs canadiens dont Allan Gordon Bell, Kelly-Marie Murphy, Liam Ritz, James O’Callaghan, Graham Campbell et Alexina Louie.</p>
<p style="font-weight: 400; text-align: justify;">Suite à des études avec Paul Pulford au Canada, Cameron se perfectionne au Conservatoire de Paris dans la classe de Michel Strauss et Guillaume Paoletti, où il obtient son Prix de Violoncelle avec les félicitations du jury. Il poursuit ses études au Conservatoire avec un prix de musique de chambre (classe de Claire Désert et Ami Flammer) et un un Diplôme d’Artiste-Interprète en création et répertoires contemporains. Il est également passionné par l’enseignement et offre des masterclasses à l’Académie Rainier III à Monaco, l’Universités de Montréal, Lawrence University (Wisconsin), et le Victoria Conservatory parmi d’autres.</p>
<p style="font-weight: 400; text-align: justify;">Parallèlement à son activité de concertiste, Cameron se passionne pour les défis stimulants que représente la production de concerts et d’événements musicaux. Il est cofondateur de ClassicalValley, un festival qui réunit musique de chambre et vin dans la vallée de l’Okanagan, en Colombie-Britannique (Canada) et, avec la pianiste Meagan Milatz, il organise une série de concerts de musique de chambre à Montréal intitulée HausMusique, présentée dans l’un des joyaux Art déco de l’Amérique du Nord, la Grande Salle du 9e étage du Centre Eaton.</p>
<p style="font-weight: 400; text-align: justify;">Depuis 2024, il a la joie immense de collaborer avec l’un de ses héros musicaux, James Campbell, en tant que directeur artistique adjoint du Festival of the Sound, l’un des plus prestigieux festivals de musique classique du Canada, aujourd’hui dans sa 46e année. Cameron est également reconnaissant de pouvoir travailler aux côtés de son père en organisant des concerts de musique de chambre à Llíria, en Espagne, ville désignée Cité créative de la musique par l’UNESCO (et de partager avec lui leur goût pour la culture, la gastronomie et le vin espagnols 🍷).</p>
<p style="font-weight: 400; text-align: justify;">Cameron joue actuellement sur un violoncelle de Gennaro Gagliano de vers 1750, prêté par la Banque d’instruments du Conseil des arts du Canada, ainsi qu’un archet de Georges Léon Lamy, généreusement mis à sa disposition par l’entreprise CANIMEX INC. de Drummondville, Québec.</p>
<p>&nbsp;</p>
<p class="p1"><strong>Philip Chiu</strong>, piano</p>
<p class="p1" style="text-align: justify;">Reconnu pour son art de « pianiste-peintre » qui transforme le son en couleur vive selon La Presse, Philip Chiu s’impose comme l’un des pianistes les plus singuliers au pays. Son jeu allie virtuosité, sens poétique et une présence scénique remarquable. Lauréat du prix Juno 2023 pour le Meilleur album classique solo et premier récipiendaire du Mécénat Musica Prix Goyer, l’un des plus grands prix en musique classique au Canada, il s’est bâti une réputation d’interprète alliant maîtrise technique et sens naturel du lien avec le public.</p>
<p class="p1" style="text-align: justify;">Soliste et chambriste très recherché, Chiu s’est produit à travers le Canada, les États-Unis, le Japon et la France, dans de grandes salles et festivals. Il a collaboré avec plusieurs artistes de premier plan, dont James Ehnes, Emmanuel Pahud, Régis Pasquier, Noah Bendix-Balgley, Bomsori Kim, Johannes Moser et le Quatuor New Orford. Son duo de longue date avec le violoniste Jonathan Crow est apprécié du public, et son engagement envers les communautés se reflète dans plus de quatorze tournées pancanadiennes avec Prairie Debut, les Jeunesses Musicales Canada et Debut Atlantic.</p>
<p class="p1" style="text-align: justify;">Sa discographie témoigne de son attachement au répertoire classique ainsi que de son désir de mettre en valeur des voix contemporaines. Son album primé aux Juno, « Fables » (ATMA Classique), et son album « Voyages », en hommage à sa ville natale de Hong Kong, font partie d’un triptyque ambitieux qui relie des œuvres de Ravel et Debussy à de nouvelles commandes de compositrices et compositeurs canadiens, dont l’artiste anichinabée Barbara Assiginaak et Alice Ping Yee Ho. Il a aussi enregistré les « 24 Preludes for Solo Piano » de John Burge (Centrediscs), « Tapeo » avec le violoncelliste Cameron Crozman (ATMA), « Night Light » avec la flûtiste Lara Deutsch (Leaf Music), ainsi qu’un enregistrement avec Pentaèdre en hommage à Jacques Hétu. Ses albums, publiés par ATMA Classique, Warner Music, Analekta, Leaf Music et Centrediscs, sont diffusés régulièrement sur BBC Radio 3, France Musique, ICI Musique et CBC Music.</p>
<p class="p1" style="text-align: justify;">Authentique, imaginatif et profondément humain, Philip Chiu redéfinit la place du pianiste classique au vingt-et-unième siècle. Ses interprétations invitent le public à un voyage émotionnel et confirment son rôle d’artiste narrateur et d’ambassadeur majeur de la musique canadienne.</p>
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</div></div></div></div><div id="pgc-w6929c87095f08-16-2"  class="panel-grid-cell panel-grid-cell-empty" ></div></div><div id="pg-w6929c87095f08-17"  class="panel-grid panel-no-style" ><div id="pgc-w6929c87095f08-17-0"  class="panel-grid-cell panel-grid-cell-empty" ></div><div id="pgc-w6929c87095f08-17-1"  class="panel-grid-cell" ><div id="panel-w6929c87095f08-17-1-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="43" ><div class="textwidget"><p style="text-align: center;"><a href="https://www.canada.ca/home.html" target="_blank" rel="noopener"><img loading="lazy" class="wp-image-5403 size-full aligncenter" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Canadian Heritage | Canada Arts Presentation Fund" src="https://ceciliaconcerts.ca/test/newstaging/wp-content/uploads/2015/05/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Canadian-Herirage-Canada-Arts-Presentation-Fund.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Canadian Heritage | Canada Arts Presentation Fund" width="230" height="140" /></a></p>
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ANDREWS \u2022 6036 COBURG RD\n\t\t\t\n\t\t\t\tHALIFAX, NOVA SCOTIA\n\t\t\t\n\t\t\t\tWHEELCHAIR ACCESSIBLE\n\n\nAbout this Concert\n\n\n\n\nJoin us for an evening of profound emotion and stunning artistry as violinist Robert Uchida, cellist Cameron Crozman, and pianist Philip Chiu come together for a program that spans diverse musical landscapes. These three musicians\u2014each a multiple prize winner and a Halifax audience favourite\u2014bring to life Sergei Rachmaninoff\u2019s \"Trio \u00e9l\u00e9giaque No. 1 in G minor,\" a work of haunting beauty and expressive depth, alongside Olivier Messiaen\u2019s transcendent \"Louange \u00e0 l\u2019\u00c9ternit\u00e9 de J\u00e9sus\" and \"Louange \u00e0 l\u2019immortalit\u00e9 de J\u00e9sus,\" both of which offer meditative reflections on eternity and immortality. Japanese composer Toru Takemitsu\u2019s \"Between Tides\" adds atmospheric textures, evoking the natural world with its evocative sounds. The program also features Maurice Ravel\u2019s \"Piano Trio in A Minor,\" a masterpiece blending French elegance with emotional depth and harmonic innovation. With the virtuosic talents of Uchida, Crozman, and Chiu, this performance promises to be a compelling exploration of both timeless and contemporary works. Season Sponsor: Nice Moves \/ Red Door Realty.\n\nThis performance is made possible with the generous support of Deborah Fraser.\n\n\n\n\t\t\t\n\t\t\t\tARTISTS: Robert Uchida, violin; Cameron Crozman, cello; Philip Chiu, piano\n\t\t\t\n\t\t\t\tMAIN STAGE CONCERTS SERIES\n\n\nAbout the Program\n&amp;nbsp;\n\nSergei Rachmaninoff (1873\u20131943)\nTrio \u00e9l\u00e9giaque No. 1 in G minor\nSergei Rachmaninoff was born into the Russian aristocracy on one of his father\u2019s estates. There was music on both sides of his family, and he began to study piano with his mother as a four-year-old. He showed such promise that the family engaged a recent graduate of the St. Petersburg Conservatory to live with the family and tutor young Sergei in his music studies. When the family fortunes declined due to Rachmaninoff\u2019s father\u2019s financial incompetence, the family moved to an apartment in St. Petersburg, and ten-year-old Sergei entered the Conservatory there. He was not a good student; he frequently played truant, failed some courses and altered the grades on his report card. So, at age twelve, his family transferred him to the Moscow Conservatory where he studied for the next seven years under stricter circumstances and with much greater success. While he was still in St. Petersburg, Rachmaninoff\u2019s elder sister, Yelena, had introduced him to the music of Pyotr Ilyich Tchaikovsky. This music was to become a lifelong influence. It may have intensified when, in 1892, Tchaikovsky attended a performance of a one-act opera, \u201cAleko,\u201d which Rachmaninoff had written as a composition project and praised the young student for his work.\nRachmaninoff wrote two elegiac trios while at the Moscow Conservatory. The second, composed in late 1893, is clearly a tribute written to mourn the death of Tchaikovsky, the composer that Rachmaninoff saw as a mentor. \u201cTrio \u00e9l\u00e9giaque No. 1,\u201d composed in January 1892, is a tribute in another way. It is cast in a single long movement, with pronounced similarities to the first movement of Tchaikovsky\u2019s \u2018Piano Trio in A minor,\u201d composed in 1882. Tchaikovsky\u2019s long first movement was called \u201cPezzo elegiaco\u201d (Elegiac Piece), and like it, Rachmaninoff\u2019s \u201cElegiac Trio\u201d ends with a funeral march. There are other points of reference to Tchaikovsky, but the Trio\u2019s powerful sweep, along an arc of growing animation before the sombre close, is pure Rachmaninoff.\n\n&amp;nbsp;\n\nT\u014dru Takemitsu (1930\u20131996)\nBetween Tides\nT\u014dru Takemitsu was born in Tokyo in October 1930. Shortly before his fourteenth birthday, he was conscripted into the Japanese army. This experience changed the direction of his life. For one thing, it led him to distance himself from the traditional music of his native Japan since Japanese traditional music \"always recalled the bitter memories of war\". Second, it was during his term in military service that Takemitsu was introduced to Western classical music, which he listened to with fellow soldiers in secret; they would play it on a gramophone with a makeshift needle fashioned from bamboo. After the war, he listened to as much western music as he could on the U.S. Armed Forces network, and at age sixteen, he committed himself to becoming a composer, because \u201cin music I found my raison d'\u00eatre as a man. After the war, music was the only thing.\u201d Takemitsu remained largely self-taught throughout his career, yet, despite his lack of formal musical education, he succeeded. He published an enormous amount of music \u2013 including over a hundred film scores \u2013 in a wide range of styles and genres. Conductor Seiji Ozawa writes: \"I am very proud of my friend Toru Takemitsu. He is the first Japanese composer to write for a world audience and achieve international recognition.\u201d\n\u201cBetween Tides\u201d was completed in 1993, just three years before Takemitsu's death. It is Takemitsu at his most characteristic. The influence of the French Impressionists is easily recognized, but Takemitsu's sensuality has a more meditative feel to it. Many of his works are about water. \u201cBetween Tides,\u201d true to its title, ebbs and flows unstoppably, but Takemitsu prevents the music from drifting into merely impressionistic prettiness by grounding it with recurring motifs, textures, and patterns. Debussy's \u201cLa mer\u201d depicts the sea in all its moods. Takemitsu's piece does the same, but with his own unique and intimate voice.\n\n&amp;nbsp;\n\nOlivier Messiaen (1908\u20131992)\nQuatuor pour la fin du temps \nV. \"Louange \u00e0 l\u2019\u00c9ternit\u00e9 de J\u00e9sus\"\nOlivier Messiaen was born into a literary family in Avignon. His mother was an established poet, his father published a French translation of Shakespeare\u2019s works, and his younger brother also became a poet. Messiaen began to study music as a young child and entered the Conservatoire de Paris when he was eleven. During his decade of studies there, he won prizes in piano performance, music history, organ performance and improvisation, and composition. Upon graduation in 1931, he was appointed organist at the \u00c9glise de la Sainte-Trinit\u00e9, a position he held for over sixty years. He also began teaching at the prestigious Schola Cantorum de Paris. He was active in Paris\u2019 artistic circles, helping to found the group, \u201cLa Jeune France,\u201d a movement that decried the frivolity of contemporary French music in favour of a \"living music, having the impetus of sincerity, generosity and artistic conscientiousness.\u201d In addition, he composed steadily. When World War II broke out, Messiaen was drafted into the French Army as a medical auxiliary. He was captured at Verdun and sent to a prisoner of war camp in Poland. It was at Stalag VIII-A that Messiaen met a clarinetist, a violinist and a cellist, all fellow prisoners. With the help of a sympathetic German guard, Messiaen was able to obtain some paper and a small pencil. He wrote a trio for these three which later was incorporated into a larger piece, \u201cQuartet for the End of Time.\u201d\n\u201cQuartet for the End of Time\u201d has been called one of the most important chamber works of the Twentieth Century. It was composed in its entirety in the German prisoner of war camp and premiered there for an audience of prisoners and guards in January 1941. It consists of eight movements, some of which are revisions of earlier compositions. The fifth movement, \u201cLouange \u00e0 l\u2019\u00c9ternit\u00e9 de J\u00e9sus\", scored for cello and piano, for example, is a reworking of \u201cL\u2019eau\u201d, from the 1937 composition, \u201cFetes des belles eaux.\u201d\n\n&amp;nbsp;\n\nOlivier Messiaen (1908\u20131992)\nQuatuor pour la fin du temps \nVIII. \"Louange \u00e0 l\u2019immortalit\u00e9 de J\u00e9sus\"\nMusic scholar Eric Brahinsky wrote of Olivier Messiaen: \u201cThe music of Messiaen tends to be very striking on first hearing. It is often ethereal, but never dainty or frilly. Sometimes powerful, it is never harsh or ugly. The music often displays a feeling of hovering between tonalities without sounding unstable; chords unheard of in common-practice harmony are used extensively, but rarely does the music sound dissonant.\u201d This is an apt description of the closing movement of \u201cQuartet for the End of Time.\u201d The Quartet consists of eight movements and is scored for clarinet, violin, cello and piano simply because these were the four musicians and instruments available to him in the prisoner of war camp where the piece was composed. It was inspired by a reading of the Book of Revelation: \u201cAnd the angel which I saw stand upon the sea and upon the earth lifted up his hand to heaven, and sware by him that liveth for ever and ever ... that there should be time no longer.\u201d Scored for violin and piano, \u201cPraise to the Immortality of Jesus\u201d, is a direct counterpart to the fifth movement written for cello and piano. Regarding this final movement, Messiaen noted, \u201cIts slow ascent to the acutely extreme is the ascent of man to his god, the child of God to his Father, the being made divine towards Paradise.\u201d Olivier Messiaen was a devout Catholic, but his theology concentrated on joy, divine love and redemption, a view that informed this music.\n\n&amp;nbsp;\nMaurice Ravel (1875\u20131937)\nPiano Trio in A minor\nI. Mod\u00e9r\u00e9\nII. Pantoum (Assez vif)\nIII. Passacaille (Tr\u00e8s large)\nIV. Finale (Anim\u00e9)\n\nMaurice Ravel was born in Ciboure, France, a Basque town eighteen kilometres from the Spanish border. His mother, also Basque, had been raised in Madrid. While the Ravel family moved to Paris before young Maurice was six months old, the Spanish influence shows up in his music time and again. It is the basis of his most familiar piece, \u201cBolero,\u201d as well as \u201cRapsodie espagnole,\u201d \u201cAlborado del gracioso,\u201d and \u201cL\u2019heure espagnole.\u201d As a child, he was sensitive to music and loved the Spanish folk songs that his mother sang to him. He began to play piano at age seven and went on to study composition and harmony in his early teens, receiving a grounding in classical Western forms. In fact, his earliest compositions were variations on music of Schumann and Grieg. By the time he was in his twenties, after his studies at the Paris Conservatory, he was well established as a musician in Paris circles.\nRavel was known as a painstaking craftsman as well as an innovator. He began work on the \u201cPiano Trio in A minor\u201d in March of 1914 and early in the summer, he remarked to a friend, \"I\u2019ve written my trio. Now all I need are the themes.\" The traditional four movement structure was in place. He spent much of the summer working on the Trio while staying in the French Basque commune of Saint-Jean-de-Luz, near his birthplace. While he was working on the Trio, he was sketching material for a piano concerto based on Basque themes. Although the piano concerto was never completed, some of the Basque themes found their way into the opening movement of the Trio, which, Ravel noted, was \u201cBasque in colouring\u201d. The second movement is labelled, \u201cPantoum\u201d after the Malaysian poetic form that uses a system of interlocking lines. Ravel reflects the poetic form in the way he develops the movement\u2019s two themes in alternation. The Passacaglia is the emotional heart of the work. The melody is passed between the three instruments, building to a powerful climax, then dying away. The final movement has an almost orchestral expanse. It is grand, stirring music composed on the eve, and in the shadow, of the First World War.\n\nProgram notes by Larry Bent\n\n\nAbout the Artists\n&amp;nbsp;\nRobert Uchida, violin\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 concerto soloist with orchestras including the Alberta Baroque Ensemble, Edmonton Symphony, Kingston Symphony, Ottawa Symphony, Red Deer Symphony, Symphony New Brunswick, Symphony Nova Scotia, Orchestre de la Francophonie, and the National Arts Centre Orchestra of Canada.\nRobert is Artistic Director of the Longshadow Music Festival in Yellowknife, Northwest Territories. He 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,\u00a0and 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 the \"Dawes, de Long Tearse\"\u00a0Guadagnini violin with Vision Solo Titanium strings by Thomastik-Infeld Vienna.\n\n&amp;nbsp;\nCameron Crozman, cello\nWith a rich imagination and a keen mind\u201d (Diapason Magazine), Canadian cellist Cameron Crozman leads an active performing career as a soloist and chamber musician in Canada, the USA, and Europe. He has appeared as a soloist with the Orchestre National d'Ile-de-France (Paris), Montreal, Winnipeg, Hamilton, and Vancouver Island Symphonies among others, and performances have taken him everywhere from the Philharmonie de Paris and the Shanghai Oriental Arts Centre, to the Qidi Vidi Brewery of St. John\u2019s, Newfoundland. An avid collaborator and chamber musician, Cameron shares the stage with eminent artists such as James Ehnes, Augustin Hadelich, Louis Lortie, G\u00e9rard Causs\u00e9, James Campbell, and members of the \u00c9b\u00e8ne, New Zealand, and Penderecki String Quartets.\nWinner of the 2021 Canada Council for the Arts Virginia Parker Prize, the Council\u2019s largest award for emerging classical musicians, Cameron was CBC\/Radio-Canada\u2019s 2019 Classical Revelation artist and a laureate of Gautier Capu\u00e7on\u2019s Classe d\u2019Excellence at the Louis Vuitton Foundation in Paris. Cameron\u2019s debut album, Cavatine, recorded on the ca. 1696 \u201cBonjour\u201d Stradivarius cello with pianist Philip Chiu, was released in 2019 and described by the French publication Classica Magazine as displaying \u201ctechnical perfection with a personal style that leaves us wanting to hear more.\u201d He has since recorded a number of CDs for the labels ATMA Classique in Canada and Printemps des Arts de Monte-Carlo in Monaco. His most recent release from May 2024 of the Haydn Cello Concertos and Jacques H\u00e9tu\u2019s Rondo performed with Les Violons du Roy and conductor Nicolas Ellis has garnered international praise. Cameron\u2019s performances are broadcast on CBC, BBC, RT\u00c9 Radio, Radio France, and Medici.tv.\nDeeply committed to the music of today, Cameron is active in leading projects commissioning and premiering new music by some of Canada\u2019s most recognized composers including Alexina Louie, Allan Gordon Bell, Liam Ritz, James O\u2019Callaghan, and Kelly-Marie Murphy. After studies in Canada with Paul Pulford, Cameron was a student at the Paris Conservatoire and received his \u201cPrix de violoncelle\u201d with highest honours studying in the class of Michel Strauss and chamber music with Claire D\u00e9sert and Ami Flammer. In 2018, he received a one year mentorship with violinist James Ehnes as part of the Andr\u00e9-Bourbeau award from the Jeunesses Musicales Canada. Passionate about teaching the next generation, he has been invited to give masterclasses at the Acad\u00e9mie Rainier III in Monaco, Lawrence University (Wisconsin), University of Montreal, Conservatorio Superior de M\u00fasica Joaqu\u00edn Rodrigo Valencia, and the Escola Superior de Music de Lisboa, among others.\nAlongside his performing activities, Cameron finds himself abosrbed by the rewarding challenges of producing concerts and musical events. He is co-founder of ClassicalValley, a festival bringing together chamber music and wine in Okanagan Valley of British Columbia, Canada, and along with pianist Meagan Milatz, produces a series of chamber music concerts in Montreal called \u201cHausMusique\u201d in one of North America\u2019s landmark Art Deco spaces, the Grande Salle of 9th floor of the Eaton Centre.\nSince 2024, he has had the incredible joy to work alongside one of his musical heroes, James Campbell, as Assistant Artistic Director of the Festival of the Sound, among Canada\u2019s premiere classical music festival now in it\u2019s 46th year. Cameron is also grateful to have the chance to work together with his father by organizing chamber music concerts in Ll\u00edria, Spain, designated a Creative City of Music by the UNESCO (and share their enjoyment for Spanish culture, food, and wine \ud83c\udf77).\nCameron currently plays on a c. 1750 Gennaro Gagliano cello, on loan from the Canada Council for the Arts Instrument Bank and a bow by Georges L\u00e9on Lamy generously provided by the company CANIMEX INC. of Drummondville, Qu\u00e9bec.\n\n&amp;nbsp;\nPhilip Chiu, piano\nRenowned for his \u201cpianist-painter\u201d artistry that transforms sound into vivid colour (La Presse),\u00a0Philip Chiu is recognized as one of Canada\u2019s most distinctive pianists, celebrated for his brilliant technique, poetic sensibility, and captivating stage presence. Winner of the 2023 JUNO Award for Best Classical Solo Album and the first-ever recipient of the M\u00e9c\u00e9nat Musica Prix Goyer, one of Canada\u2019s largest classical music prizes, he has earned a reputation for performances that combine virtuosic mastery with an instinctive ability to create genuine connections with audiences.\nA sought-after soloist and chamber musician, Chiu has performed across Canada, the United States, Japan, and France, appearing in major venues and festivals and collaborating with many of today\u2019s foremost artists, including James Ehnes, Emmanuel Pahud, R\u00e9gis Pasquier, Noah Bendix-Balgley, Bomsori Kim, Johannes Moser, and the New Orford String Quartet. His longstanding duo with violinist Jonathan Crow has become beloved among chamber music audiences, and his commitment to bringing music to communities nationwide is reflected in more than fourteen extensive cross-Canada tours with Prairie Debut, Jeunesses Musicales Canada, and Debut Atlantic.\nChiu\u2019s discography underscores both his deep affinity for the classical tradition and his dedication to amplifying contemporary voices. His JUNO-winning album\u00a0\u201cFables\u201d\u00a0(ATMA Classique) and its successor\u00a0\u201cVoyages\u201d\u2014a tribute to his birthplace of Hong Kong\u2014form part of an ambitious triptych project weaving works by Ravel and Debussy with new commissions from Canadian composers such as Anishinaabekwe artist Barbara Assiginaak and Alice Ping Yee Ho. He has also recorded John Burge\u2019s\u00a0\u201c24 Preludes for Solo Piano\u201d\u00a0(Centrediscs),\u00a0\u201cTapeo\u201d\u00a0with cellist Cameron Crozman (ATMA),\u00a0\u201cNight Light\u201d\u00a0with flautist Lara Deutsch (Leaf Music), and a collaboration with Penta\u00e8dre honoring Jacques H\u00e9tu. His recordings for labels including ATMA Classique, Warner Music, Analekta, Leaf Music, and Centrediscs are frequently broadcast on BBC Radio 3, France Musique, ICI Musique, and CBC Music.\nAuthentic, imaginative, and deeply human, Philip Chiu continues to redefine what it means to be a classical pianist in the 21st century\u2014an artist whose performances invite listeners on an emotional journey while affirming his role as both a cultural storyteller and a leading ambassador for Canadian music.\n\n\n\nTrio Uchida-Crozman-Chiu\n\n\n\t\t\t\n\t\t\t\tSAMEDI 6 DECEMBRE 2025 \u2022 19h30\n\t\t\t\n\t\t\t\tSTAGE AT ST. ANDREWS \u2022 6036 COBURG RD\n\t\t\t\n\t\t\t\tHALIFAX, NOUVELLE-\u00c9COSSE\n\t\t\t\n\t\t\t\tACCESSIBLE EN FAUTEUIL ROULANT\n\n\n\n\u00c0 propos de ce concert\n\n\nLe violoniste Robert Uchida, le violoncelliste Cameron Crozman et le pianiste Philip Chiu se r\u00e9unissent pour une soir\u00e9e d'\u00e9motion profonde et d'art \u00e9poustouflant, dans le cadre d'un programme qui couvre divers paysages musicaux. Ces trois musiciens - tous laur\u00e9ats de plusieurs prix et favoris du public de Halifax - donnent vie au Trio \u00e9l\u00e9giaque no 1 en sol mineur de Sergei Rachmaninoff, une \u0153uvre d'une beaut\u00e9 obs\u00e9dante et d'une grande profondeur expressive, aux c\u00f4t\u00e9s des transcendantes Louange \u00e0 l'\u00c9ternit\u00e9 de J\u00e9sus et Louange \u00e0 l'immortalit\u00e9 de J\u00e9sus d'Olivier Messiaen, qui offrent toutes deux des r\u00e9flexions m\u00e9ditatives sur l'\u00e9ternit\u00e9 et l'immortalit\u00e9. L'\u0153uvre \u00ab Between Tides \u00bb du compositeur japonais Toru Takemitsu ajoute des textures atmosph\u00e9riques, \u00e9voquant le monde naturel par ses sons \u00e9vocateurs. Le programme comprend \u00e9galement le \u00ab Trio pour piano en la mineur \u00bb de Maurice Ravel, un chef-d'\u0153uvre qui allie l'\u00e9l\u00e9gance fran\u00e7aise \u00e0 la profondeur \u00e9motionnelle et \u00e0 l'innovation harmonique. Gr\u00e2ce aux talents virtuoses d'Uchida, Crozman et Chiu, ce concert promet d'\u00eatre une exploration passionnante d'\u0153uvres \u00e0 la fois intemporelles et contemporaines. Sponsor de la saison : Nice Moves \/ Red Door Realty.\n\nCette repr\u00e9sentation est rendue possible gr\u00e2ce au soutien g\u00e9n\u00e9reux de Deborah Fraser.\n\n\t\t\t\n\t\t\t\tARTISTES : Robert Uchida, violon ; Cameron Crozman, violoncelle ; Philip Chiu, piano\n\t\t\t\n\t\t\t\tS\u00c9RIE DE CONCERTS SUR LA SC\u00c8NE PRINCIPALE\n\n\n\u00c0 propos du programme\n&amp;nbsp;\n\nSergei Rachmaninoff (1873\u20131943)\nTrio \u00e9l\u00e9giaque no 1 en sol mineur\nSerge Rachmaninov est n\u00e9 dans l\u2019aristocratie russe sur l\u2019un des domaines de son p\u00e8re. La musique \u00e9tait pr\u00e9sente dans les deux branches de sa famille, et il a commenc\u00e9 l\u2019\u00e9tude du piano avec sa m\u00e8re \u00e0 l\u2019\u00e2ge de quatre ans. Ses talents \u00e9taient tels que la famille a engag\u00e9 un r\u00e9cent dipl\u00f4m\u00e9 du Conservatoire de Saint-P\u00e9tersbourg pour vivre avec eux et enseigner la musique au jeune Serge. Quand la situation financi\u00e8re familiale s\u2019est d\u00e9t\u00e9rior\u00e9e en raison de l\u2019incomp\u00e9tence du p\u00e8re, la famille a d\u00e9m\u00e9nag\u00e9 dans un appartement \u00e0 Saint-P\u00e9tersbourg, et Serge, \u00e2g\u00e9 de dix ans, est entr\u00e9 au Conservatoire. Il n\u2019\u00e9tait pas un bon \u00e9l\u00e8ve, il s\u00e9chait r\u00e9guli\u00e8rement les cours, a \u00e9chou\u00e9 \u00e0 certaines mati\u00e8res et a m\u00eame modifi\u00e9 les notes sur son bulletin. \u00c0 douze ans, sa famille l\u2019a donc transf\u00e9r\u00e9 au Conservatoire de Moscou, o\u00f9 il a \u00e9tudi\u00e9 pendant les sept ann\u00e9es suivantes dans un cadre plus strict et avec beaucoup plus de r\u00e9ussite. Pendant qu\u2019il \u00e9tait encore \u00e0 Saint-P\u00e9tersbourg, sa s\u0153ur a\u00een\u00e9e, Yelena, lui avait fait d\u00e9couvrir la musique de Piotr Ilitch Tcha\u00efkovski. Cette musique est devenue une influence durable dans sa vie. Cette influence a peut-\u00eatre grandi en 1892 lorsque Tcha\u00efkovski a assist\u00e9 \u00e0 une repr\u00e9sentation d\u2019un op\u00e9ra en un acte, \u00ab Aleko \u00bb, \u00e9crit par Rachmaninov dans le cadre d\u2019un projet de composition, et a f\u00e9licit\u00e9 le jeune compositeur.\nRachmaninov a \u00e9crit deux trios \u00e9l\u00e9giaques alors qu\u2019il \u00e9tudiait au Conservatoire de Moscou. Le deuxi\u00e8me, compos\u00e9 \u00e0 la fin de 1893, est clairement un hommage \u00e9crit en r\u00e9action \u00e0 la mort de Tcha\u00efkovski, que Rachmaninov voyait comme un mentor. Le \u00ab Trio \u00e9l\u00e9giaque no 1 \u00bb, compos\u00e9 en janvier 1892, est un hommage d\u2019un autre ordre. L\u2019\u0153uvre est construite en un seul long mouvement, avec des ressemblances marqu\u00e9es avec le premier mouvement du \u00ab Trio pour piano en la mineur \u00bb de Tcha\u00efkovski, compos\u00e9 en 1882. Le long premier mouvement de Tcha\u00efkovski portait le titre \u00ab Pezzo elegiaco \u00bb, et comme lui, le Trio de Rachmaninov se termine par une marche fun\u00e8bre. On y retrouve d\u2019autres allusions \u00e0 Tcha\u00efkovski, mais l\u2019\u00e9lan et la puissance qui parcourent l\u2019\u0153uvre jusqu\u2019\u00e0 sa conclusion sombre sont typiquement rachmaninoviens.\n\n&amp;nbsp;\nT\u014dru Takemitsu (1930\u20131996)\nBetween Tides\n\nT\u014dru Takemitsu est n\u00e9 \u00e0 Tokyo en octobre 1930. Peu avant ses quatorze ans, il a \u00e9t\u00e9 enr\u00f4l\u00e9 de force dans l\u2019arm\u00e9e japonaise. Cette exp\u00e9rience a transform\u00e9 sa vie. Elle l\u2019a pouss\u00e9 \u00e0 se distancer de la musique traditionnelle japonaise, qui lui rappelait les souvenirs amers de la guerre. Pendant son service, il a d\u00e9couvert la musique classique occidentale, qu\u2019il \u00e9coutait en secret avec d\u2019autres soldats, sur un gramophone muni d\u2019une aiguille improvis\u00e9e en bambou. Apr\u00e8s la guerre, il a \u00e9cout\u00e9 autant de musique occidentale que possible sur le r\u00e9seau des Forces arm\u00e9es am\u00e9ricaines, et \u00e0 seize ans, il a d\u00e9cid\u00e9 de devenir compositeur, d\u00e9clarant que la musique \u00e9tait devenue sa raison d\u2019\u00eatre. Takemitsu est rest\u00e9 largement autodidacte. Malgr\u00e9 son absence de formation acad\u00e9mique, il a eu une carri\u00e8re marquante. Il a publi\u00e9 un vaste catalogue, dont plus d\u2019une centaine de musiques de films, couvrant une large gamme de styles. Le chef d\u2019orchestre Seiji Ozawa a \u00e9crit : \u00ab Je suis fier de mon ami Toru Takemitsu. Il est le premier compositeur japonais \u00e0 \u00e9crire pour un public mondial et \u00e0 atteindre une reconnaissance internationale. \u00bb\n\u00ab Between Tides \u00bb, termin\u00e9 en 1993, seulement trois ans avant sa mort, refl\u00e8te pleinement sa mani\u00e8re. L\u2019influence des impressionnistes fran\u00e7ais y est \u00e9vidente, mais la sensualit\u00e9 de Takemitsu y prend une dimension plus m\u00e9ditative. L\u2019eau est un th\u00e8me r\u00e9current dans son \u0153uvre. \u00ab Between Tides \u00bb, fid\u00e8le \u00e0 son titre, progresse en flux et reflux, mais Takemitsu \u00e9vite une simple atmosph\u00e8re impressionniste en ancrant la musique par des motifs et textures r\u00e9currents. Comme \u00ab La mer \u00bb de Debussy, l\u2019\u0153uvre \u00e9voque les multiples visages de l\u2019eau, mais avec une voix personnelle et intime.\n\n&amp;nbsp;\nOlivier Messiaen (1908\u20131992)\nQuatuor pour la fin du temps\nV. \u00ab Louange \u00e0 l\u2019\u00c9ternit\u00e9 de J\u00e9sus \u00bb\n\nOlivier Messiaen est n\u00e9 dans une famille de litt\u00e9raires \u00e0 Avignon. Sa m\u00e8re \u00e9tait une po\u00e8te reconnue, son p\u00e8re a publi\u00e9 une traduction fran\u00e7aise des \u0153uvres de Shakespeare, et son fr\u00e8re cadet est aussi devenu po\u00e8te. Messiaen a commenc\u00e9 l\u2019\u00e9tude de la musique dans son enfance et est entr\u00e9 au Conservatoire de Paris \u00e0 l\u2019\u00e2ge de onze ans. Pendant sa d\u00e9cennie d\u2019\u00e9tudes, il a remport\u00e9 des prix en piano, histoire de la musique, orgue, improvisation et composition. \u00c0 sa graduation, en 1931, il a \u00e9t\u00e9 nomm\u00e9 organiste \u00e0 l\u2019\u00c9glise de la Sainte-Trinit\u00e9, poste qu\u2019il a occup\u00e9 pendant plus de soixante ans. Il a aussi commenc\u00e9 \u00e0 enseigner \u00e0 la Schola Cantorum de Paris. Il \u00e9tait actif dans les milieux artistiques et a particip\u00e9 \u00e0 la fondation du groupe \u00ab La Jeune France \u00bb, qui rejetait la frivolit\u00e9 de la musique fran\u00e7aise contemporaine au profit d\u2019une musique vivante guid\u00e9e par la sinc\u00e9rit\u00e9, la g\u00e9n\u00e9rosit\u00e9 et la conscience artistique. En parall\u00e8le, il composait r\u00e9guli\u00e8rement. Quand la Seconde Guerre mondiale a \u00e9clat\u00e9, Messiaen a \u00e9t\u00e9 mobilis\u00e9 comme auxiliaire m\u00e9dical. Il a \u00e9t\u00e9 captur\u00e9 \u00e0 Verdun et envoy\u00e9 dans un camp de prisonniers en Pologne. C\u2019est au Stalag VIII-A qu\u2019il a rencontr\u00e9 un clarinettiste, un violoniste et un violoncelliste, tous prisonniers. Avec l\u2019aide d\u2019un garde allemand compatissant, il a obtenu du papier et un petit crayon. Il y a compos\u00e9 un trio pour ces trois musiciens, trio qui sera plus tard int\u00e9gr\u00e9 dans une \u0153uvre plus vaste, le \u00ab Quatuor pour la fin du temps \u00bb.\nLe \u00ab Quatuor pour la fin du temps \u00bb est consid\u00e9r\u00e9 comme l\u2019un des grands chefs-d\u2019\u0153uvre de la musique de chambre du vingti\u00e8me si\u00e8cle. Il a \u00e9t\u00e9 compos\u00e9 enti\u00e8rement dans le camp de prisonniers et cr\u00e9\u00e9 l\u00e0, devant un public de prisonniers et de gardes, en janvier 1941. L\u2019\u0153uvre comprend huit mouvements, dont certains d\u00e9rivent de compositions ant\u00e9rieures. Le cinqui\u00e8me mouvement, \u00ab Louange \u00e0 l\u2019\u00c9ternit\u00e9 de J\u00e9sus \u00bb, pour violoncelle et piano, est une r\u00e9vision du morceau \u00ab L\u2019eau \u00bb issu de \u00ab F\u00eates des belles eaux \u00bb (1937).\n\n&amp;nbsp;\nOlivier Messiaen (1908\u20131992)\nQuatuor pour la fin du temps\nVIII. \u00ab Louange \u00e0 l\u2019immortalit\u00e9 de J\u00e9sus \u00bb\n\nLe musicologue Eric Brahinsky a \u00e9crit \u00e0 propos de Messiaen : \u00ab La musique de Messiaen frappe d\u00e8s la premi\u00e8re \u00e9coute. Elle est souvent \u00e9th\u00e9r\u00e9e, mais jamais fragile. Parfois puissante, mais jamais dure ou laide. Elle donne souvent l\u2019impression de flotter entre des tonalit\u00e9s sans para\u00eetre instable. Des accords inconnus de l\u2019harmonie traditionnelle y sont fr\u00e9quents, mais rarement la musique semble dissonante. \u00bb Cette description correspond bien au dernier mouvement du \u00ab Quatuor pour la fin du temps \u00bb. L\u2019\u0153uvre est \u00e9crite pour clarinette, violon, violoncelle et piano, simplement parce que ce sont les instruments et musiciens pr\u00e9sents dans le camp de prisonniers. Elle s\u2019inspire d\u2019un passage de l\u2019Apocalypse : \u00ab L\u2019ange [\u2026] jura par celui qui vit aux si\u00e8cles des si\u00e8cles [\u2026] qu\u2019il n\u2019y aurait plus de temps. \u00bb Le mouvement final, \u00ab Louange \u00e0 l\u2019immortalit\u00e9 de J\u00e9sus \u00bb, pour violon et piano, r\u00e9pond directement au cinqui\u00e8me mouvement pour violoncelle et piano. Messiaen a not\u00e9 au sujet de cette conclusion : \u00ab Son ascension lente vers l\u2019extr\u00eame aigu est l\u2019ascension de l\u2019homme vers son Dieu, de l\u2019enfant de Dieu vers son P\u00e8re, de l\u2019\u00eatre fait divin vers le Paradis. \u00bb Messiaen \u00e9tait un catholique fervent, et sa th\u00e9ologie centr\u00e9e sur la joie, l\u2019amour divin et la r\u00e9demption impr\u00e8gne cette musique.\n\n&amp;nbsp;\nMaurice Ravel (1875\u20131937)\nTrio pour piano en la mineur\nI. Mod\u00e9r\u00e9\nII.Pantoum (assez vif)\nIII. Passacaille (tr\u00e8s large)\nIV. Finale (anim\u00e9)\n\nMaurice Ravel est n\u00e9 \u00e0 Ciboure, une ville basque situ\u00e9e \u00e0 dix-huit kilom\u00e8tres de la fronti\u00e8re espagnole. Sa m\u00e8re, \u00e9galement basque, avait grandi \u00e0 Madrid. Bien que la famille ait d\u00e9m\u00e9nag\u00e9 \u00e0 Paris avant que Maurice n\u2019ait six mois, l\u2019influence espagnole revient fr\u00e9quemment dans sa musique. Elle marque plusieurs de ses \u0153uvres les plus connues, notamment \u00ab Bol\u00e9ro \u00bb, \u00ab Rapsodie espagnole \u00bb, \u00ab Alborada del gracioso \u00bb et \u00ab L\u2019heure espagnole \u00bb. Enfant, il aimait la musique et affectionnait les chansons populaires espagnoles que sa m\u00e8re lui chantait. Il a commenc\u00e9 le piano \u00e0 sept ans et a ensuite \u00e9tudi\u00e9 la composition et l\u2019harmonie dans son adolescence, recevant une base solide en formes classiques occidentales. Ses premi\u00e8res \u0153uvres \u00e9taient des variations sur Schumann et Grieg. Apr\u00e8s ses \u00e9tudes au Conservatoire de Paris, il \u00e9tait d\u00e9j\u00e0 bien \u00e9tabli dans les milieux musicaux.\nRavel \u00e9tait reconnu pour son travail minutieux et son esprit novateur. Il a commenc\u00e9 le \u00ab Trio pour piano en la mineur \u00bb en mars 1914. Au d\u00e9but de l\u2019\u00e9t\u00e9, il disait \u00e0 un ami : \u00ab J\u2019ai \u00e9crit mon trio. Il ne me manque plus que les th\u00e8mes. \u00bb La structure en quatre mouvements \u00e9tait d\u00e9j\u00e0 fix\u00e9e. Il a pass\u00e9 une grande partie de l\u2019\u00e9t\u00e9 \u00e0 travailler sur l\u2019\u0153uvre pendant un s\u00e9jour \u00e0 Saint-Jean-de-Luz, pr\u00e8s de son lieu de naissance. Durant ce travail, il esquissait aussi des id\u00e9es pour un concerto pour piano bas\u00e9 sur des th\u00e8mes basques. Le concerto n\u2019a jamais \u00e9t\u00e9 achev\u00e9, mais plusieurs de ces th\u00e8mes ont trouv\u00e9 leur place dans le premier mouvement du Trio, que Ravel qualifiait de \u00ab basque dans sa couleur \u00bb. Le deuxi\u00e8me mouvement, \u00ab Pantoum \u00bb, doit son titre \u00e0 une forme po\u00e9tique malaisienne fond\u00e9e sur l\u2019entrelacement des vers. Ravel transpose cette id\u00e9e en d\u00e9veloppant deux th\u00e8mes en alternance. La Passacaille constitue le c\u0153ur \u00e9motionnel du Trio. La m\u00e9lodie circule entre les trois instruments, culmine, puis s\u2019\u00e9teint. Le dernier mouvement a une ampleur quasi orchestrale. C\u2019est une musique grande et anim\u00e9e, \u00e9crite \u00e0 la veille de la Premi\u00e8re Guerre mondiale.\n\nNotes de programme par Larry Bent\n\n\n\u00c0 propos des artistes\n&amp;nbsp;\nRobert Uchida, violon\nLe violoniste canadien Robert Uchida, violon solo de l\u2019Edmonton Symphony Orchestra, m\u00e8ne une carri\u00e8re diversifi\u00e9e comme soliste, musicien d\u2019orchestre, chambriste et p\u00e9dagogue. Son premier enregistrement, la Sonata for Unaccompanied Violin d\u2019Andrew Violette, a re\u00e7u des \u00e9loges internationaux. Le magazine Strings a soulign\u00e9 la beaut\u00e9 de son timbre, son \u00e9loquence et son intensit\u00e9 hypnotique.\nRobert a \u00e9t\u00e9 soliste avec de nombreux orchestres, dont l\u2019Alberta Baroque Ensemble, l\u2019Edmonton Symphony, le Kingston Symphony, l\u2019Ottawa Symphony, le Red Deer Symphony, Symphony New Brunswick, Symphony Nova Scotia, l\u2019Orchestre de la Francophonie et l\u2019Orchestre du Centre national des Arts du Canada.\nIl est directeur artistique du Longshadow Music Festival \u00e0 Yellowknife, dans les Territoires du Nord-Ouest. Il a enseign\u00e9 et jou\u00e9 dans plusieurs festivals en Am\u00e9rique du Nord, dont l\u2019Arizona MusicFest, le Banff International String Quartet Festival, le Jackson Hole Chamber Music, Music by the Sea, le National Academy Orchestra, le Young Artists Program du Centre national des Arts, le New Brunswick Summer Music Festival, le Rosebud Chamber Music Festival, le Scotia Festival, le Sewanee Music Festival et le Summer Solstice Music Festival. Il a aussi \u00e9t\u00e9 directeur artistique de l\u2019Acadia Summer Strings Festival de 2010 \u00e0 2013.\nAvant de se joindre \u00e0 l\u2019Edmonton Symphony Orchestra, Robert \u00e9tait violon solo de Symphony Nova Scotia \u00e0 Halifax. Il a particip\u00e9 \u00e0 un enregistrement nomm\u00e9 aux prix Juno avec Sarah Slean, et a enregistr\u00e9 Requiem 21.5: Violin Concerto de Tim Brady, gagnant du prix Enregistrement classique de l\u2019ann\u00e9e aux East Coast Music Awards. Comme violon solo invit\u00e9, il a collabor\u00e9 avec le Kitchener-Waterloo Symphony, le Netherlands Radio Chamber Philharmonic, l\u2019Ottawa Symphony, le Rotterdam Philharmonic, le Royal Flemish Philharmonic et le Vancouver Symphony Orchestra.\nP\u00e9dagogue passionn\u00e9, Robert enseigne le violon \u00e0 l\u2019Universit\u00e9 de l\u2019Alberta, et a occup\u00e9 des postes d\u2019enseignement \u00e0 l\u2019Universit\u00e9 Acadia et au programme pr\u00e9universitaire de la Manhattan School of Music. Ses \u00e9tudiants 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\u2019importants concours internationaux et jouent maintenant dans divers ensembles en Am\u00e9rique du Nord et en Europe.\nRobert d\u00e9tient une ma\u00eetrise en interpr\u00e9tation du violon de la Manhattan School of Music \u00e0 New York et un baccalaur\u00e9at de l\u2019Universit\u00e9 d\u2019Ottawa. Ses enseignants et mentors incluent Andrew Dawes, Morry Kernerman, Patinka Kopec, Heratch Manoukian, David Stewart et Pinchas Zukerman.\nTr\u00e8s engag\u00e9 dans sa communaut\u00e9, Robert est fier d\u2019avoir \u00e9t\u00e9 intronis\u00e9 au Character Club de la Ronald McDonald House \u00e0 Edmonton. Il joue sur le violon Guadagnini \u00ab Dawes, de Long Tearse \u00bb, mont\u00e9 avec des cordes Vision Solo Titanium de Thomastik-Infeld Vienna.\n\n&amp;nbsp;\nCameron Crozman, violoncelle\n\u00ab D\u2019une riche imagination et d\u2019un esprit vif \u00bb (Diapason), le violoncelliste canadien Cameron Crozman se produit en tant que soliste et chambriste au Canada, aux Etats-Unis et en Europe. Invit\u00e9 en soliste avec l\u2019Orchestre National d'\u00cele-de-France (Paris), les Orchestres Symphoniques Montr\u00e9al, Winnipeg, Hamilton et l'\u00cele de Vancouver, il se produit aussi bien dans de grandes salles dont la Philharmonie de Paris ou le Centre d\u2019art oriental de Shanghai qu\u2019\u00e0 des lieux insolites comme la brasserie \u201cQidi Vidi\u201d \u00e0 St-John\u2019s. Avec un grand int\u00e9r\u00eat pour la musique de chambre, il partage la sc\u00e8ne aux c\u00f4t\u00e9s d\u2019\u00e9minents musiciens, dont James Ehnes, Augustin Hadelich, Louis Lortie, G\u00e9rard Causs\u00e9, James Campbell et des membres des Quatuors \u00c9b\u00e8ne, Nouvelle-Z\u00e9lande et Penderecki.\nLaur\u00e9at de la Bourse de carri\u00e8re Fernand-Lindsay en 2024 et du prix Virginia Parker du Conseil des Arts du Canada 2021 Cameron a \u00e9t\u00e9 R\u00e9v\u00e9lation Classique 2019 de Radio-Canada et laur\u00e9at de la Classe d'excellence de Gautier Capu\u00e7on \u00e0 la Fondation Louis Vuitton \u00e0 Paris. Il enregistre des albums salu\u00e9s par la critique sous les \u00e9tiquettes ATMA Classique et Printemps des Arts de Mont\u00e9-Carlo.\nSon premier album, \u00ab Cavatine \u00bb, enregistr\u00e9 avec le violoncelle Stradivarius \u00ab Bonjour \u00bb de v. 1696 et en collaboration avec le pianiste Philip Chiu, est d\u00e9crit par Radio-Canada comme \u201cune parfaite transmission de l\u2019essence de la musique moderne fran\u00e7aise\u201d. Sa plus r\u00e9cente sortie de mai 2024, pr\u00e9sente les deux Concertos de Haydn et le premier enregistrement du \u00ab Rondo \u00bb de Jacques H\u00e9tu, en collaboration avec Les Violons du Roy dirig\u00e9 par Nicolas Ellis. Ses performances sont diffus\u00e9es sur CBC, BBC, RT\u00c9 Radio, Radio France et Medici.tv.\nTr\u00e8s engag\u00e9 envers l\u2019innovation dans le domaine de la musique, Cameron imagine constamment de nouvelles fa\u00e7on de partager son art avec le monde. Il commande et cr\u00e9e des nouvelles pi\u00e8ces \u00e0 plusieurs importants compositeurs canadiens dont Allan Gordon Bell, Kelly-Marie Murphy, Liam Ritz, James O\u2019Callaghan, Graham Campbell et Alexina Louie.\nSuite \u00e0 des \u00e9tudes avec Paul Pulford au Canada, Cameron se perfectionne au Conservatoire de Paris dans la classe de Michel Strauss et Guillaume Paoletti, o\u00f9 il obtient son Prix de Violoncelle avec les f\u00e9licitations du jury. Il poursuit ses \u00e9tudes au Conservatoire avec un prix de musique de chambre (classe de Claire D\u00e9sert et Ami Flammer) et un un Dipl\u00f4me d\u2019Artiste-Interpr\u00e8te en cr\u00e9ation et r\u00e9pertoires contemporains. Il est \u00e9galement passionn\u00e9 par l\u2019enseignement et offre des masterclasses \u00e0 l\u2019Acad\u00e9mie Rainier III \u00e0 Monaco, l\u2019Universit\u00e9s de Montr\u00e9al, Lawrence University (Wisconsin), et le Victoria Conservatory parmi d\u2019autres.\nParall\u00e8lement \u00e0 son activit\u00e9 de concertiste, Cameron se passionne pour les d\u00e9fis stimulants que repr\u00e9sente la production de concerts et d\u2019\u00e9v\u00e9nements musicaux. Il est cofondateur de ClassicalValley, un festival qui r\u00e9unit musique de chambre et vin dans la vall\u00e9e de l\u2019Okanagan, en Colombie-Britannique (Canada) et, avec la pianiste Meagan Milatz, il organise une s\u00e9rie de concerts de musique de chambre \u00e0 Montr\u00e9al intitul\u00e9e HausMusique, pr\u00e9sent\u00e9e dans l\u2019un des joyaux Art d\u00e9co de l\u2019Am\u00e9rique du Nord, la Grande Salle du 9e \u00e9tage du Centre Eaton.\nDepuis 2024, il a la joie immense de collaborer avec l\u2019un de ses h\u00e9ros musicaux, James Campbell, en tant que directeur artistique adjoint du Festival of the Sound, l\u2019un des plus prestigieux festivals de musique classique du Canada, aujourd\u2019hui dans sa 46e ann\u00e9e. Cameron est \u00e9galement reconnaissant de pouvoir travailler aux c\u00f4t\u00e9s de son p\u00e8re en organisant des concerts de musique de chambre \u00e0 Ll\u00edria, en Espagne, ville d\u00e9sign\u00e9e Cit\u00e9 cr\u00e9ative de la musique par l\u2019UNESCO (et de partager avec lui leur go\u00fbt pour la culture, la gastronomie et le vin espagnols \ud83c\udf77).\nCameron joue actuellement sur un violoncelle de Gennaro Gagliano de vers 1750, pr\u00eat\u00e9 par la Banque d\u2019instruments du Conseil des arts du Canada, ainsi qu\u2019un archet de Georges L\u00e9on Lamy, g\u00e9n\u00e9reusement mis \u00e0 sa disposition par l\u2019entreprise CANIMEX INC. de Drummondville, Qu\u00e9bec.\n\n&amp;nbsp;\nPhilip Chiu, piano\nReconnu pour son art de \u00ab pianiste-peintre \u00bb qui transforme le son en couleur vive selon La Presse, Philip Chiu s\u2019impose comme l\u2019un des pianistes les plus singuliers au pays. Son jeu allie virtuosit\u00e9, sens po\u00e9tique et une pr\u00e9sence sc\u00e9nique remarquable. Laur\u00e9at du prix Juno 2023 pour le Meilleur album classique solo et premier r\u00e9cipiendaire du M\u00e9c\u00e9nat Musica Prix Goyer, l\u2019un des plus grands prix en musique classique au Canada, il s\u2019est b\u00e2ti une r\u00e9putation d\u2019interpr\u00e8te alliant ma\u00eetrise technique et sens naturel du lien avec le public.\nSoliste et chambriste tr\u00e8s recherch\u00e9, Chiu s\u2019est produit \u00e0 travers le Canada, les \u00c9tats-Unis, le Japon et la France, dans de grandes salles et festivals. Il a collabor\u00e9 avec plusieurs artistes de premier plan, dont James Ehnes, Emmanuel Pahud, R\u00e9gis Pasquier, Noah Bendix-Balgley, Bomsori Kim, Johannes Moser et le Quatuor New Orford. Son duo de longue date avec le violoniste Jonathan Crow est appr\u00e9ci\u00e9 du public, et son engagement envers les communaut\u00e9s se refl\u00e8te dans plus de quatorze tourn\u00e9es pancanadiennes avec Prairie Debut, les Jeunesses Musicales Canada et Debut Atlantic.\nSa discographie t\u00e9moigne de son attachement au r\u00e9pertoire classique ainsi que de son d\u00e9sir de mettre en valeur des voix contemporaines. Son album prim\u00e9 aux Juno, \u00ab Fables \u00bb (ATMA Classique), et son album \u00ab Voyages \u00bb, en hommage \u00e0 sa ville natale de Hong Kong, font partie d\u2019un triptyque ambitieux qui relie des \u0153uvres de Ravel et Debussy \u00e0 de nouvelles commandes de compositrices et compositeurs canadiens, dont l\u2019artiste anichinab\u00e9e Barbara Assiginaak et Alice Ping Yee Ho. Il a aussi enregistr\u00e9 les \u00ab 24 Preludes for Solo Piano \u00bb de John Burge (Centrediscs), \u00ab Tapeo \u00bb avec le violoncelliste Cameron Crozman (ATMA), \u00ab Night Light \u00bb avec la fl\u00fbtiste Lara Deutsch (Leaf Music), ainsi qu\u2019un enregistrement avec Penta\u00e8dre en hommage \u00e0 Jacques H\u00e9tu. Ses albums, publi\u00e9s par ATMA Classique, Warner Music, Analekta, Leaf Music et Centrediscs, sont diffus\u00e9s r\u00e9guli\u00e8rement sur BBC Radio 3, France Musique, ICI Musique et CBC Music.\nAuthentique, imaginatif et profond\u00e9ment humain, Philip Chiu red\u00e9finit la place du pianiste classique au vingt-et-uni\u00e8me si\u00e8cle. 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