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<title>Christian Paquette &amp; Steve Cowan &#8226; Saturday, February 21, 2026 • 7:30pm</title>
	<meta name="description" content="Flutist Christian Paquette and guitarist Steve Cowan deliver an intimate concert of rare and original repertoire in Halifax." />
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	<meta property="og:title" content="Christian Paquette &amp; Steve Cowan &#8226; Saturday, February 21, 2026 • 7:30pm" />
	<meta property="og:description" content="Flutist Christian Paquette and guitarist Steve Cowan present a wonderful program that spans a range of musical styles, blending classical repertoire, contemporary sound worlds, and folk traditions. Béla Bartók’s “Roumanian Folk Dances” brings vibrant melodies and rhythmic energy, while Toru Takemitsu’s “Toward the Sea” (I. The Night, II. Moby Dick, III. Cape Cod) offers a serene and expansive soundscape inspired by the natural world. Claude Debussy’s Four Pieces adds contrast and character through “La fille aux cheveux de lin” for solo guitar, “Syrinx” for solo flute, “Rêverie,” and “Golliwog’s Cakewalk,” revealing the composer’s distinctive textures in a new light. The program also features “Folk Suite” by Canadian composer Jason Noble, alongside Osvaldo Golijov’s “Fish Tale,” an evocative exploration of sound and colour. Astor Piazzolla’s “Histoire du Tango” (I. Bordel 1900, II. Café 1930, III. Nightclub 1960) adds sharp rhythm, atmosphere, and passion. With Paquette’s expressive flute and Cowan’s precise guitar work, this performance highlights the intimate colour and contrast of their unique duo pairing. Season Sponsor: Nice Moves / Red Door Realty." />
	<meta property="og:url" content="https://www.ceciliaconcerts.ca/concert/christian-paquette-steve-cowan/" />
	<meta property="og:site_name" content="Cecilia Concerts | Halifax, Nova Scotia" />
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	<meta property="article:modified_time" content="2026-02-12T15:33:28+00:00" />
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	<meta name="twitter:title" content="Christian Paquette &amp; Steve Cowan &#8226; Saturday, February 21, 2026 • 7:30pm" />
	<meta name="twitter:description" content="Flutist Christian Paquette and guitarist Steve Cowan present a wonderful program that spans a range of musical styles, blending classical repertoire, contemporary sound worlds, and folk traditions. Béla Bartók’s “Roumanian Folk Dances” brings vibrant melodies and rhythmic energy, while Toru Takemitsu’s “Toward the Sea” (I. The Night, II. Moby Dick, III. Cape Cod) offers a serene and expansive soundscape inspired by the natural world. Claude Debussy’s Four Pieces adds contrast and character through “La fille aux cheveux de lin” for solo guitar, “Syrinx” for solo flute, “Rêverie,” and “Golliwog’s Cakewalk,” revealing the composer’s distinctive textures in a new light. The program also features “Folk Suite” by Canadian composer Jason Noble, alongside Osvaldo Golijov’s “Fish Tale,” an evocative exploration of sound and colour. Astor Piazzolla’s “Histoire du Tango” (I. Bordel 1900, II. Café 1930, III. Nightclub 1960) adds sharp rhythm, atmosphere, and passion. With Paquette’s expressive flute and Cowan’s precise guitar work, this performance highlights the intimate colour and contrast of their unique duo pairing. 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-Flautist-Christian-Paquette-and-Guitarist-Steve-Cowan-1-1.jpg" />
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	<meta name="twitter:data1" content="24 minutes" />
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.sensory-accessible-concerts .product_item .price {
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.musician-in-residence .details_product_item a.button {
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    color: #fff;
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.musician-in-residence .product_item .price {
    display: none;
}

.composer-in-residence .details_product_item a.button {
    display: block;
    background-color: #d6552d;
    color: #fff;
}

.home .product_item .details_product_item a.button {
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}

.concerts .product_item .details_product_item a.button {
    display: block;
}

.page-id-8605 .details_product_item a.button {
    display: block;
    background-color: #d6552d;
    color: #fff;
}

.product .kad_add_to_cart, .product .single_add_to_cart_button {
    width:100%;
    font-size: 11px;
    text-transform: uppercase;
    padding: 8px 28px;
}

.page-id-8605 .product_item .details_product_item a.button:hover {background-color:#d7714a
}

.product .kad_add_to_cart, .product .single_add_to_cart_button {
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.red-menu a { color: #d6552d !important; }
.red-menu a:hover { color: #d7714a !important; }

#nav-main ul.sf-menu ul li a,
.nav-main ul.sf-menu ul li a {
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.concerts .product_item .details_product_item a.button {background-color:#d6552d;color:#FFF}
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.home .product_item .details_product_item a.button {background-color:#d6552d;color:#FFF}
.home .product_item .details_product_item a.button:hover {background-color:#d7714a}

footer .container {
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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 {
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.home .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 {
background: #d6552d;
color: #fff;
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.onsale {
display: none !important;
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#nav-main ul.sf-menu ul li a {
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.woocommerce-variation-description p {
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#pr-thumbnails {
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@media (max-width: 768px){
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}
}

@media (max-width: 767px){
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.woocommerce span.onsale, span.onsale {
background: #eb2429;
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dt.tm-final-totals {
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.product .kad-light-gallery .product_image {
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.product_item .add_to_cart_button {
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.product_item a.button {
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div.product .product_meta {
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}

div.product .product_label .kad_required {
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}

div.product p.stock {
display:none;
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.footerclass a:hover {
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}

.mc4wp-form input[type="submit"] {
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    padding-left: 30px;
    padding-right: 30px;
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.product_item.hidetheaction:hover .kad_add_to_cart {
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@media (max-width: 767px){
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.topclass {
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.admin-bar .topclass {
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#kad-banner {
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#containerfooter .menu li a {
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h1.product_title.entry-title {
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padding: 0px;
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.button, .kad-btn {
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color: #ffffff;
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.sf-menu a {
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.topbarmenu ul li a {
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font-size: 15px;
font-family: open sans !important;
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.page-header {
display: none;
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.footercredits p, .footernav ul li a {
font-size: 14px;
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.footerclass a:hover {
color: #ffffff;
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.boxed #wrapper.container {
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.home_blog .hometitle {
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.single-article .post header {
display: none;
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.footernav ul li a {
color: #ffffff;
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.footercredits p {
color: #ffffff !important;
}

.sm-kad-btn {
font-size: 15px;
line-height: 15px;
}

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<div id="product-37080" class="post-37080 product type-product status-publish has-post-thumbnail product_cat-151 product_cat-concert product_cat-front product_cat-mainstage tm-no-options first instock taxable shipping-taxable purchasable product-type-variable">
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On the right, Steve Cowan is shown mid-performance, eyes closed, playing a classical guitar with a focused expression. The date \&quot;FEB 11 \/ F\u00c9VR\&quot; is displayed in white text on a black square in the bottom left corner.&quot;,&quot;caption&quot;:&quot;&quot;,&quot;url&quot;:&quot;https:\/\/www.ceciliaconcerts.ca\/wp-content\/uploads\/2025\/06\/Cecilia-Concerts-Classical-Music-Halifax-Nova-Scotia-Flautist-Christian-Paquette-and-Guitarist-Steve-Cowan-1-3-1.jpg&quot;,&quot;alt&quot;:&quot;Promotional image for a concert featuring flautist Christian Paquette and guitarist Steve Cowan. On the left, Christian Paquette is smiling warmly, holding a flute, and wearing a brown coat and multicolored plaid scarf against a blurred brick wall background. On the right, Steve Cowan is shown mid-performance, eyes closed, playing a classical guitar with a focused expression. 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<ul class="nav nav-tabs sc_tabs"><li class="active"><a href="#sctab6150" rel="nofollow">ABOUT-EN</a></li>
<li class=""><a href="#sctab6151" rel="nofollow">PROGRAM-EN</a></li>
<li class=""><a href="#sctab6152" rel="nofollow">À PROPOS-FR</a></li>
<li class=""><a href="#sctab6153" rel="nofollow">PROGRAMME-FR</a></li></ul> <div class="tab-content postclass"><div class="tab-pane clearfix active" id="sctab6150">
<h1><strong>Christian Paquette &amp; Steve Cowan</strong></h1>
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<h5><strong>			<i class="icon-calendar " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				SATURDAY, FEBRUARY 21, 2026 • 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>Flutist Christian Paquette and guitarist Steve Cowan present a wonderful program that spans a range of musical styles, blending classical repertoire, contemporary sound worlds, and folk traditions. Béla Bartók’s “Roumanian Folk Dances” brings vibrant melodies and rhythmic energy, while Toru Takemitsu’s “Toward the Sea” (I. The Night, II. Moby Dick, III. Cape Cod) offers a serene and expansive soundscape inspired by the natural world. Claude Debussy’s Four Pieces adds contrast and character through “La fille aux cheveux de lin” for solo guitar, “Syrinx” for solo flute, “Rêverie,” and “Golliwog’s Cakewalk,” revealing the composer’s distinctive textures in a new light. The program also features “Folk Suite” by Canadian composer Jason Noble, alongside Osvaldo Golijov’s “Fish Tale,” an evocative exploration of sound and colour. Astor Piazzolla’s “Histoire du Tango” (I. Bordel 1900, II. Café 1930, III. Nightclub 1960) adds sharp rhythm, atmosphere, and passion. With Paquette’s expressive flute and Cowan’s precise guitar work, this performance highlights the intimate colour and contrast of their unique duo pairing. 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 class="gmail-p1" style="text-align: justify;"><em>This performance is made possible with the generous support of John and Joanne LeBlanc, and of Eve Proctor and Daniel Drory.</em></p>
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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>: Christian Paquette, flute; Steve Cowan, guitar</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 this Program</h4>
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<p>&nbsp;</p>
<p class="Textbody"><b>Béla Bartók (1881-1945)</b></p>
<p class="Textbody"><b><i>Roumanian Folk Dances</i></b></p>
<p class="Textbody" style="text-align: justify;">Bartok is considered one of the most important composers of the Twentieth Century.  He is also rated alongside Franz Liszt as the greatest of Hungarian composers. Born in the Kingdom of Hungary, he was a gifted child. His mother, who taught him piano, claimed that he could distinguish between different dance rhythms before he could talk. He composed piano pieces from the age of nine and made his concert debut as an eleven year old. In his twenties, he met, and was influenced by Richard Strauss and Claude Debussy, but it was his meeting with Zoltan Kodaly which changed his musical direction. Together, they began to explore and collect folk music of his native Hungary (which at that time included Transylvania, now a part of Romania). Bartók and Kodály set about incorporating elements of Magyar peasant music into their compositions. They both frequently quoted folk song melodies <i>verbatim</i> and wrote pieces derived entirely from authentic songs.</p>
<p class="Textbody" style="text-align: justify;">Among the pieces based on peasant tunes he heard in Transylvania is his set of six<i> Romanian Folk Dances</i>. In their original incarnation, these six brief dances were played on fiddle or shepherd’s flute.  Bartok made piano arrangements of the melodies in 1915 and two years later orchestrated them for a small ensemble. Since then, the <i>Romanian Folk Dances</i>have been performed frequently and have been arranged for piano/violin duo, for string orchestra, for two cellos, and for flute and guitar.</p>
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<p>&nbsp;</p>
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<p class="Textbody"><b>Toru Takemitsu (1930-1996)</b></p>
<p class="Textbody"><b><i>Toward The Sea</i></b></p>
<p class="Textbody" style="padding-left: 40px;">I. The Night<br />
II. Moby Dick<br />
III. Cape Cod</p>
<p class="Textbody" 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 <i>raison d'être</i> 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. As conductor<u> Sei</u>ji O<u>zawa </u>noted: "Toru Takemitsu...is the first Japanese composer to write for a world audience and achieve international recognition.”</p>
<p class="Textbody" style="text-align: justify;"><i>Toward the Sea</i> was composed in 1981 on a commission from Green Peace’s “Save the Whales”  campaign. Three different versions exist, but the original was composed for flute and guitar. The titles of the three sections are references to Herman Melville’s novel Moby Dick. Takemitsu said that he wished to emphasize the “spiritual dimension of the book” and noted that "the music is a homage to the sea which creates all things and a sketch for the sea of tonality.”</p>
<p>&nbsp;</p>
<p class="Textbody"><b>Claude Debussy (1862-1916)</b></p>
<p class="Textbody"><b>Four Debussy Pieces</b></p>
<p class="Textbody" style="padding-left: 40px;">La fille aux cheveux de lin<br />
Syrinx<br />
Rêverie<br />
Golliwog's Cakewalk</p>
<p class="Textbody" style="text-align: justify;">Debussy composed “Syrinx” in 1913.  It was the first significant piece composed for solo flute since C.P.E.Bach’s <i>Sonata for Flute in A minor </i>written in 1747.  It was originally played offstage as incidental music for Gabriel Mourey’s play <i>Psyche</i>.  The title “Syrinx” refers to the Greek myth where the nymph, Syrinx, is pursued by the god, Pan. To elude him, she transforms herself into reeds and hides in a marsh. Pan, lamenting losing her, unknowingly cuts down the reeds and transforms them into a pan flute on which he plays his lament.</p>
<p class="Textbody" style="text-align: justify;"> “La fille aux cheveux de lin” (“The Girl with the Flaxen Hair”) was composed as one of a set of Preludes. It was completed in January of 1910 and received its premiere in London in June of that year followed shortly thereafter by its American premiere, attaining global success almost instantly.  It was inspired by Leconte de Lisle’s love poem of the same name.  In art and poetry, flaxen hair has been used as a symbol of innocence and naivety, and Debussy captures this in the simplicity of its memorable tune.</p>
<p class="Textbody" style="text-align: justify;">“Rêverie” is another of Debussy’s most popular pieces.  In spite of that, Debussy dismissed it as “a thing of no importance” which he had tossed off as a favour to his publisher and for “purely material considerations” This dismissal perhaps stems from the piece’s simplicity. Composed in 1890, quite early in his career, “Rêverie” is calm, peaceful and prioritizes atmosphere and reaching a dreamlike state. Thus, it is often used as music for mindfulness and meditation exercises.</p>
<p class="Textbody" style="text-align: justify;">In 1908, Debussy composed a suite of pieces for his three year old daughter, Claude-Emma (whom he called Chouchou). The suite, <i>Children’s Corner,</i> depicts toys that come to life.  “Golliwog's Cakewalk” is the last in the series of six pieces. The Golliwog of the title was a popular black rag doll of that era, and a cakewalk was a dance competition for which the winner “took the cake” that was awarded as a prize. It is clearly influenced by Afro-American ragtime and jazz, which Debussy considered America’s most worthwhile contribution to classical music.</p>
<p>&nbsp;</p>
<p class="Textbody"><b>Jason Noble (born 1980)</b></p>
<p class="Textbody"><b><i>Folk Suite</i></b></p>
<p class="Textbody" style="text-align: justify;">Jason Noble, composer, researcher and educator, is a proud native Newfoundlander who often incorporates elements of his Newfoundland heritage into his music. He possesses a music degree from Memorial University as well as a PhD from McGill and he is currently Professor of Instrumental and Electroacoustic Composition at Universit<span lang="EN-US">é</span> de Moncton.  His compositions have been performed across Canada, the United States, throughout most of Europe and in New Zealand.  His compositions have been called “a remarkable achievement, indeed brilliant, colourful, astounding, challenging.” His work seeks balance between innovation and accessibility, motivated by a belief that contemporary music can be genuinely progressive and genuinely accessible at the same time.</p>
<p class="Textbody" style="text-align: justify;"><i>Folk Suite</i>, was initially composed for marimba and cello in 2019 and later arranged for guitar and flute. This later arrangement was nominated for an East Coast Music Award (ECMA) for outstanding composition after it was recorded in 2023. The suite consists of six brief sections which blend the traditional and the contemporary and feature especially elements of Newfoundland folk music. The six sections are as follows: i Overture, ii Air, iii Ceilidh, iv Ballad, v Jig and vi. Reel.</p>
<p>&nbsp;</p></div>
<p><b>Osvaldo Golijov (born 1960)</b></p>
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<p class="Textbody"><b><i>Fish Tale </i></b><i></i></p>
<p class="Textbody" style="text-align: justify;">Osvaldo Golijov was born to Romanian Jewish immigrants in La Plata, Argentina.  His mother was a piano teacher and his father was a physician. He studied music throughout his childhood in La Plata. In 1983, he emigrated to Israel where he studied at the Rubin School of Music in Jerusalem.  Three years later, he entered the University of Pennsylvania where he completed his Doctorate. He has been on the Faculty of Music at the College of the Holy Cross in Worcester, Massachusetts since 1991. During this time, Golijov has been a prolific composer in a variety of genres.  He has composed a number of vocal works, most notably for soprano Dawn Upshaw, a large number of orchestral and chamber pieces and several film scores. In addition to a MacArthur Fellowship, he has won two Grammy Awards.</p>
<p class="Textbody" style="text-align: justify;">Composed in 1998 for flute and guitar, <i>Fish Tale </i>is a “magical soundscape” describing a fish’s lifetime odyssey, during both storms and calm, travelling through oceans, rain forests and even a fish bowl. It is filled with cultural references including African thumb piano, Brazilian samba and Golijov’s native Argentinian tango. Golijov, in the notes accompanying the publication of the piece, described it as a “love letter” and a “watercolor”.</p>
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<p>&nbsp;</p>
<p class="Textbody"><b>Astor Piazzolla (1921-1992)</b></p>
<p class="Textbody"><b><i>Histoire du Tango</i></b></p>
<p class="Textbody" style="padding-left: 40px;">I. Bordel 1900<br />
II. Café 1930<br />
III. Nightclub 1960</p>
<p class="Textbody" style="text-align: justify;">Astor Piazzolla was born near Buenos Aires in Argentina.  When he was four, his family moved to America and settled in Greenwich Village in New York. Here, young Piazzolla was exposed to jazz and classical music, but also spent hours listening to his father’s collection of tango records. His father bought him a bandoneon from a pawn shop when he was eight and by the time he was twelve, he was playing Bach on the bandoneon and composing tangos. Shortly after his family moved back to Argentina in 1936, Piazzolla began to play with local tango orchestras, sometimes arranging and composing music for the orchestras to perform. He studied composition during the days while performing at night, and in 1953, his composition <i>Buenos Aires Symphony </i>won him an opportunity to go to Paris to study with Nadia Boulanger, the world’s foremost musical pedagogue. She encouraged him to focus on the tango, the music that was so obviously close to his heart.  On his return to Argentina, he formed the “Octeto Buenos Aires”. His octet broke the mould of the typical tangoorchestra by creating a sound closer to chamber music but with jazz-like improvisations. This “nuevo tango” was controversial in his homeland, but it gained acceptance in Europe and North America. In effect, Piazzolla had moved the tango out of the bordellos and dance halls and into the concert hall.</p>
<p class="Textbody" style="text-align: justify;">Composed in 1985, Histoire du Tango is a four movement piece of music which conveys the development of the tango. The tango originated in Buenos Aires in 1882. It was first played on guitar and flute. The opening movement, “Bordel 1900” is a high-spirited tango painting a picture of the good natured chatter of the women who peopled the bordellos as they teased the policemen, thieves, sailors, and riffraff who came to see them.  “Café, 1930” presents another age of the tango. People stopped dancing to it as they had in 1900, preferring instead simply to listen to it. It became more romantic. This tango has undergone total transformation: the movements are slower, with new and often melancholy harmonies. “Nightclub 1960” is the third movement. It marks a transition from the tango from dance music to a more modern music that fuses the international rhythms of jazz and bossa nova with the traditional sound of the tango<i>.</i></p>
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<p><em>Program notes by Larry Bent</em></p>
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<h4>About the Artists</h4>
<p><strong><br />
Christian Paquette</strong>, flute</p>
<p class="p1" style="text-align: justify;">French-Canadian flutist Christian Paquette is the newly appointed Principal Flute of the Winnipeg Symphony Orchestra. He previously held the positions of Principal Flute with the Kitchener-Waterloo Symphony, the York Symphony Orchestra, and the Baltimore Chamber Orchestra. He completed his Doctor of Musical Arts degree at the Peabody Institute of the Johns Hopkins University under the tutelage of international soloist Marina Piccinini. He has also worked in flute repairs with Adam Workman, founder of Flutistry Boston. He has frequently performed back in his hometown of Ottawa, Canada, with the Ottawa Symphony Orchestra, the National Arts Centre Orchestra, and the Thirteen Strings Ensemble. He was also the President of the Ottawa Flute Association from 2015 to 2017.</p>
<p class="p1" style="text-align: justify;">Christian has performed in notable venues across North America and Europe, including the Barbican and the BBC Proms at the Royal Albert Hall with the BBC Symphony Orchestra, the Shriver Hall Concert Series in Baltimore, MD, the Music and Beyond Festival in Ottawa, as well as the National Arts Centre Fourth Stage. He has given concerto performances in the U.K. with the Farnborough Symphony Orchestra (Reinecke Concerto), as well as the Peabody Symphony Orchestra (Nielsen Concerto) under the baton of Miguel Harth-Bedoya, the University of Ottawa Symphony Orchestra (Ibert and Nielsen Concertos), and with the Ottawa Chamber Orchestra (Rodrigo “Concierto Pastoral”).</p>
<p class="p1" style="text-align: justify;">He is the recipient of numerous competition awards, such as the MPIMC (Marina Piccinini International Master Classes) Concerto Competition, first prize at the Yale Gordon Competition, Canadian Music Competition, the National Music Festival, the NACO Bursary Competition, and many others. During the summer months in 2021 and 2022, Christian was a Fellow in the Aspen Contemporary Ensemble. Past teachers include Marina Piccinini, Paula Robison, Denis Bluteau, and Camille Churchfield.</p>
<p class="p1" style="text-align: justify;">Christian is extremely grateful to the Fondation Baxter et Alma Ricard as well as the Sylva Gelber Music Foundation for their generous support in his doctoral studies at the Peabody Institute.</p>
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<p>&nbsp;</p>
<p><strong>Steve Cowan</strong>, guitar</p>
<p style="text-align: justify;">Described as “an elegant musician whose strong, crisp sense of rhythm under-pins his colourful interpretations” (<i>American Record Guide</i>), the Canadian guitarist Steve Cowan has performed throughout Canada, the United States, Europe, and New Zealand. International highlights from recent seasons include concerto performances with Ensemble Del Arte (Germany), the Christchurch Symphony Orchestra (New Zealand), and two solo albums with HR Recordings (Spain).</p>
<p style="text-align: justify;">As a chamber musician, Steve performs regularly with Forestare, a Montréal-based string ensemble. His duo with guitarist Adam Cicchillitti has premièred 21 new works and released an album of Canadian music titled <i>FOCUS</i> (Analekta, 2019), which won Classical Recording of the Year at the 2021 East Coast Music Awards. Their next recording, <i>Impressions intimes </i>(Analekta, 2021), features original arrangements of Debussy, Ravel, Mompou and Tailleferre. As of 2022, Steve is also the newest member of the renowned Canadian Guitar Quartet.</p>
<p style="text-align: justify;">Steve has won awards at ten national and international competitions, eight of which are first prizes. Most recently, he won First Prize at the Tallinn Guitar Competition in Estonia, making him a EuroStrings touring artist for the 2021 season. Also a distinguished teacher, Steve has given public masterclasses at the Conservatorium van Amsterdam, the Royal Danish Academy of Music, the University of Victoria, the New Zealand School of Music, and more.</p>
<p style="text-align: justify;">Originally from St. John’s, Newfoundland, Steve Cowan holds degrees from Memorial University, the Manhattan School of Music, and McGill University. His teachers include Sylvie Proulx, David Leisner and Jérôme Ducharme. Since 2019, he has been a guitar instructor at the Schulich School of Music of McGill University.</p>
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<h3><strong>Christian Paquette et Steve Cowan</strong></h3>
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				SAMEDI 21 FEVRIER 2026 • </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 class="p1" style="text-align: justify;">Le flûtiste Christian Paquette et le guitariste Steve Cowan présentent un magnifique programme qui parcourt une gamme de styles musicaux, mariant le répertoire classique, des univers sonores contemporains et des traditions folkloriques. Les « Roumanian Folk Dances » de Béla Bartók font entendre des mélodies éclatantes et une énergie rythmique, tandis que « Toward the Sea » de Toru Takemitsu (I. The Night, II. Moby Dick, III. Cape Cod) déploie un paysage sonore serein et ample, inspiré par le monde naturel. Les Four Pieces de Claude Debussy ajoutent contraste et caractère avec « La fille aux cheveux de lin » pour guitare seule, « Syrinx » pour flûte seule, « Rêverie » et « Golliwog’s Cakewalk », révélant les textures distinctives du compositeur sous un nouvel éclairage. Le programme comprend aussi la « Folk Suite » du compositeur canadien Jason Noble, aux côtés de « Fish Tale » d’Osvaldo Golijov, une exploration évocatrice du son et de la couleur. « Histoire du Tango » d’Astor Piazzolla (I. Bordel 1900, II. Café 1930, III. Nightclub 1960) ajoute rythme, atmosphère et passion. Avec la flûte expressive de Paquette et le jeu précis de Cowan, ce concert met en valeur la couleur intime et les contrastes de leur duo. 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 style="text-align: justify;"><em>Cette représentation est rendue possible grâce au généreux soutien de John et Joanne LeBlanc, ainsi que d’Eve Proctor et Daniel Drory.</em></p>
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				</strong><strong>ARTISTES </strong>: Christian Paquette, flûte ; Steve Cowan, guitare</h5>
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				SÉRIE DE CONCERTS SUR LA SCÈNE PRINCIPALE</strong></h5>
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<h4>À propos du programme</h4>
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<p class="p1"><strong>Béla Bartók (1881-1945)</strong></p>
<p class="p1"><strong>« Roumanian Folk Dances »</strong></p>
<p class="p1" style="text-align: justify;">Bartók est considéré comme l’un des compositeurs les plus importants du XXe siècle. On le place aussi aux côtés de Franz Liszt parmi les plus grands compositeurs hongrois. Né dans le Royaume de Hongrie, il a montré très tôt des dons exceptionnels. Sa mère, qui lui enseignait le piano, affirmait qu’il distinguait différents rythmes de danse avant même de parler. Il a composé des pièces pour piano dès l’âge de neuf ans et a fait ses débuts en concert à onze ans. Dans la vingtaine, il a rencontré Richard Strauss et Claude Debussy, qui l’ont influencé, mais sa rencontre avec Zoltán Kodály a transformé son orientation musicale. Ensemble, ils ont commencé à explorer et à recueillir la musique folklorique de leur Hongrie natale, qui comprenait alors la Transylvanie, aujourd’hui une région de la Roumanie. Bartók et Kodály ont entrepris d’intégrer des éléments de la musique paysanne magyare à leurs compositions. Tous deux citaient souvent des mélodies folkloriques mot pour mot et écrivaient des œuvres entièrement dérivées de chants authentiques.</p>
<p class="p1" style="text-align: justify;">Parmi les œuvres inspirées des airs paysans entendus en Transylvanie figure ce recueil de six « Romanian Folk Dances ». À l’origine, ces six brèves danses étaient jouées au violon ou à la flûte de berger. Bartók en a fait des arrangements pour piano en 1915, puis, deux ans plus tard, les a orchestrées pour un petit ensemble. Depuis, les « Romanian Folk Dances » sont souvent jouées et ont été arrangées pour duo piano-violon, pour orchestre à cordes, pour deux violoncelles, ainsi que pour flûte et guitare.</p>
<p>&nbsp;</p>
<p class="p1"><strong>Toru Takemitsu (1930-1996)</strong></p>
<p class="p1"><strong>« Toward The Sea »</strong></p>
<p class="p1" style="padding-left: 40px;">I. « The Night »<br />
II. « Moby Dick »<br />
III. « Cape Cod »</p>
<p class="p1" style="text-align: justify;">Tōru Takemitsu est né à Tokyo en octobre 1930. Peu avant son quatorzième anniversaire, il a été enrôlé dans l’armée japonaise. Cette expérience a changé le cours de sa vie. D’abord, elle l’a amené à prendre ses distances avec la musique traditionnelle de son Japon natal, puisque la musique traditionnelle japonaise « rappelait toujours les amers souvenirs de la guerre ». Ensuite, c’est durant son service militaire que Takemitsu a découvert la musique classique occidentale, qu’il écoutait en secret avec d’autres soldats. Ils la faisaient jouer sur un gramophone, avec une aiguille improvisée taillée dans du bambou. Après la guerre, il a écouté autant de musique occidentale que possible sur le réseau des forces armées américaines. À seize ans, il s’est consacré à la composition, parce que « dans la musique, j’ai trouvé ma raison d’être comme homme. Après la guerre, la musique était la seule chose ». Takemitsu est resté en grande partie autodidacte tout au long de sa carrière et, malgré l’absence de formation musicale formelle, il a réussi. Il a publié une quantité considérable de musique, dont plus d’une centaine de musiques de film, dans un vaste éventail de styles et de genres. Comme l’a noté le chef Seiji Ozawa : « Toru Takemitsu… est le premier compositeur japonais à écrire pour un public mondial et à obtenir une reconnaissance internationale. »</p>
<p class="p1" style="text-align: justify;">« Toward the Sea » a été composée en 1981, sur commande de la campagne « Save the Whales » de Greenpeace. Trois versions existent, mais l’originale a été écrite pour flûte et guitare. Les titres des trois sections font référence au roman « Moby Dick » de Herman Melville. Takemitsu a dit qu’il souhaitait mettre en valeur la « dimension spirituelle du livre » et a noté que « la musique est un hommage à la mer qui crée toutes choses et une esquisse de la mer de la tonalité ».</p>
<p>&nbsp;</p>
<p class="p1"><strong>Claude Debussy (1862-1916)</strong></p>
<p class="p1"><strong>« Quatre pièces de Debussy »</strong></p>
<p class="p1" style="padding-left: 40px;">« La fille aux cheveux de lin »<br />
« Syrinx »<br />
« Rêverie »<br />
« Golliwog’s Cakewalk »</p>
<p class="p1" style="text-align: justify;">Debussy a composé « Syrinx » en 1913. Il s’agissait de la première œuvre importante écrite pour flûte seule depuis la « Sonata for Flute in A minor » de C.P.E. Bach, composée en 1747. À l’origine, la pièce était jouée hors scène comme musique de scène pour la pièce « Psyche » de Gabriel Mourey. Le titre « Syrinx » renvoie au mythe grec où la nymphe Syrinx est poursuivie par le dieu Pan. Pour lui échapper, elle se transforme en roseaux et se cache dans un marais. Pan, déplorant sa perte, coupe sans le savoir les roseaux et les transforme en flûte de Pan, sur laquelle il joue sa lamentation.</p>
<p class="p1" style="text-align: justify;">« La fille aux cheveux de lin » (« The Girl with the Flaxen Hair ») a été composée dans le cadre d’un recueil de préludes. L’œuvre a été achevée en janvier 1910 et a connu sa création à Londres en juin de la même année, suivie peu après par sa création américaine, avec un succès mondial presque immédiat. Elle s’inspire du poème d’amour de Leconte de Lisle portant le même titre. En art et en poésie, les cheveux couleur lin ont servi de symbole d’innocence et de naïveté, et Debussy traduit cela par la simplicité de sa mélodie mémorable.</p>
<p class="p1" style="text-align: justify;">« Rêverie » compte aussi parmi les pièces les plus populaires de Debussy. Malgré cela, Debussy l’a écartée en la qualifiant de « chose sans importance » écrite à la hâte pour rendre service à son éditeur et pour des « considérations purement matérielles ». Cette prise de distance vient peut-être de la simplicité de la pièce. Composée en 1890, assez tôt dans sa carrière, « Rêverie » reste calme et paisible, et privilégie l’atmosphère et l’accès à un état rêveur. Pour cette raison, on l’emploie souvent dans des exercices de pleine conscience et de méditation.</p>
<p class="p1" style="text-align: justify;">En 1908, Debussy a composé une suite pour sa fille de trois ans, Claude-Emma, qu’il appelait Chouchou. La suite, « Children’s Corner », met en scène des jouets qui prennent vie. « Golliwog’s Cakewalk » est la dernière des six pièces. Le golliwog du titre était une poupée noire en chiffon populaire à l’époque, et le cakewalk était un concours de danse dont le gagnant « remportait le gâteau » remis en prix. La pièce s’inspire clairement du ragtime et du jazz afro-américains, que Debussy considérait comme la contribution la plus valable de l’Amérique à la musique classique.</p>
<p>&nbsp;</p>
<p class="p1"><strong>Jason Noble (né en 1980)</strong></p>
<p class="p1"><strong>« Folk Suite »</strong></p>
<p class="p1" style="text-align: justify;">Jason Noble, compositeur, chercheur et pédagogue, est un fier Terre-Neuvien qui intègre souvent des éléments de son héritage terre-neuvien à sa musique. Il détient un diplôme en musique de l’Université Memorial ainsi qu’un doctorat (PhD) de l’Université McGill, et il est actuellement professeur de composition instrumentale et électroacoustique à l’Université de Moncton. Ses œuvres ont été jouées partout au Canada, aux États-Unis, dans la majeure partie de l’Europe et en Nouvelle-Zélande. On a qualifié ses compositions de « remarquable réussite, brillante, colorée, stupéfiante, exigeante ». Son travail cherche un équilibre entre innovation et accessibilité, porté par la conviction que la musique contemporaine peut être progressive et accessible à la fois.</p>
<p class="p1" style="text-align: justify;">« Folk Suite » a d’abord été composée pour marimba et violoncelle en 2019, puis arrangée plus tard pour guitare et flûte. Cette version a été mise en nomination aux East Coast Music Awards (ECMA) dans la catégorie composition remarquable après son enregistrement en 2023. La suite comporte six courtes sections qui marient tradition et modernité, en mettant particulièrement en valeur des éléments de la musique folklorique de Terre-Neuve. Les six sections sont les suivantes : i. « Overture », ii. « Air », iii. « Ceilidh », iv. « Ballad », v. « Jig » et vi. « Reel ».</p>
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<p>&nbsp;</p>
<p class="p1"><strong>Osvaldo Golijov (né en 1960)</strong></p>
<p class="p1"><strong>« Fish Tale »</strong></p>
<p class="p1" style="text-align: justify;">Osvaldo Golijov est né à La Plata, en Argentine, de parents immigrés juifs roumains. Sa mère était professeure de piano et son père, médecin. Il a étudié la musique tout au long de son enfance à La Plata. En 1983, il a émigré en Israël, où il a étudié à la Rubin School of Music, à Jérusalem. Trois ans plus tard, il est entré à l’Université de Pennsylvanie, où il a complété son doctorat. Depuis 1991, il fait partie du corps professoral de musique du College of the Holy Cross, à Worcester, au Massachusetts. Pendant cette période, Golijov s’est montré prolifique dans une grande diversité de genres. Il a composé plusieurs œuvres vocales, notamment pour la soprano Dawn Upshaw, un grand nombre de pièces orchestrales et de musique de chambre, ainsi que plusieurs musiques de film. En plus d’une bourse MacArthur, il a remporté deux prix Grammy.</p>
<p class="p1" style="text-align: justify;">Composée en 1998 pour flûte et guitare, « Fish Tale » est un « paysage sonore magique » décrivant l’odyssée d’une vie de poisson, à travers tempêtes et accalmies, voyageant entre océans, forêts tropicales, et même un bocal à poissons. L’œuvre regorge de références culturelles, dont le piano à pouces africain, la samba brésilienne et le tango argentin natal de Golijov. Dans les notes accompagnant la publication de la pièce, Golijov l’a décrite comme une « lettre d’amour » et une « aquarelle ».</p>
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<p>&nbsp;</p>
<p class="p1"><strong>Astor Piazzolla (1921-1992)</strong></p>
<p class="p1"><strong>« Histoire du Tango »</strong></p>
<p class="p1" style="padding-left: 40px;">I. « Bordel 1900 »<br />
II. « Café 1930 »<br />
III. « Nightclub 1960 »</p>
<p class="p1" style="text-align: justify;">Astor Piazzolla est né près de Buenos Aires, en Argentine. À l’âge de quatre ans, sa famille a déménagé aux États-Unis et s’est installée à Greenwich Village, à New York. Là, le jeune Piazzolla a découvert le jazz et la musique classique, tout en passant des heures à écouter la collection de disques de tango de son père. Son père lui a acheté un bandonéon dans un prêteur sur gages quand il avait huit ans. À douze ans, il jouait Bach au bandonéon et composait des tangos. Peu après le retour de sa famille en Argentine en 1936, Piazzolla a commencé à jouer avec des orchestres de tango locaux, en arrangeant parfois des œuvres et en composant pour eux. Il étudiait la composition le jour tout en se produisant le soir. En 1953, sa composition « Buenos Aires Symphony » lui a valu l’occasion d’aller à Paris étudier auprès de Nadia Boulanger, considérée comme la plus grande pédagogue musicale de son époque. Elle l’a encouragé à se consacrer au tango, cette musique si proche de lui. À son retour en Argentine, il a fondé le « Octeto Buenos Aires ». Son octuor a rompu avec le modèle de l’orchestre de tango traditionnel, créant un son plus proche de la musique de chambre, avec des improvisations d’esprit jazz. Ce « nuevo tango » a suscité la controverse dans son pays, mais il a gagné en reconnaissance en Europe et en Amérique du Nord. Piazzolla a ainsi déplacé le tango des bordels et des salles de danse vers la salle de concert.</p>
<p class="p1" style="text-align: justify;">Composée en 1985, « Histoire du Tango » est une œuvre en quatre mouvements qui retrace l’évolution du tango. Le tango est né à Buenos Aires en 1882. À ses débuts, il se jouait à la guitare et à la flûte. Le premier mouvement, « Bordel 1900 », est un tango animé qui évoque les bavardages de bonne humeur des femmes des bordels, taquinant les policiers, les voleurs, les marins et toute la faune de passage venue les voir. « Café 1930 » présente une autre époque du tango. On a cessé de le danser comme en 1900, préférant l’écouter. Il est devenu plus romantique. Le tango subit alors une transformation complète : tempos plus lents, harmonies nouvelles, souvent mélancoliques. « Nightclub 1960 » est le troisième mouvement. Il marque une transition du tango, de musique de danse vers une musique plus moderne qui fusionne les rythmes internationaux du jazz et de la bossa nova avec la sonorité traditionnelle du tango.</p>
<p><em>Notes de programme par Larry Bent</em></p>
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<h4>À propos des artistes</h4>
<p><strong><br />
Christian Paquette</strong>, flute</p>
<p class="p1" style="text-align: justify;">Le flûtiste franco-canadien Christian Paquette est récemment nommé flûte solo à l’Orchestre symphonique de Winnipeg. Il a occupé auparavant le poste de flûte solo au sein des orchestres symphoniques de Kitchener-Waterloo, de York en Pennsylvanie et de l’Orchestre de chambre de Baltimore. Il a obtenu son doctorat en musique à la Peabody Institute de l’Université Johns Hopkins, sous la direction de la soliste internationale Marina Piccinini. Il a également travaillé dans le domaine de la réparation de flûtes avec Adam Workman, fondateur de Flutistry Boston. Il se produit régulièrement dans sa ville natale d’Ottawa avec l’Orchestre symphonique d’Ottawa, l’Orchestre du Centre national des Arts et l’ensemble Thirteen Strings. Il a également été président de l’Association des flûtistes d’Ottawa entre 2015 et 2017.</p>
<p class="p1" style="text-align: justify;">Christian s’est produit dans plusieurs salles prestigieuses en Amérique du Nord et en Europe, notamment au Barbican et aux BBC Proms, au Royal Albert Hall, avec le BBC Symphony Orchestra, dans le cadre de la série de concerts du Shriver Hall à Baltimore (Maryland), au festival « Music and Beyond » à Ottawa, ainsi qu’au Centre national des Arts (quatrième scène). Il a interprété des concertos au Royaume-Uni avec l’Orchestre symphonique de Farnborough (« Concerto » de Reinecke), ainsi qu’avec le Peabody Symphony Orchestra (« Concerto » de Nielsen) sous la direction de Miguel Harth-Bedoya, avec l’Orchestre symphonique de l’Université d’Ottawa (concertos d’Ibert et de Nielsen), et avec l’Orchestre de chambre d’Ottawa (« Concierto pastoral » de Rodrigo). Il a remporté de nombreux prix lors de concours, tels que le Concours de concertos MPIMC (« Marina Piccinini International Master Classes »), le premier prix du Concours Yale Gordon, le Concours de musique du Canada, le Festival national de musique, le Concours de bourses de l’Orchestre du Centre national des Arts, et bien d’autres. Durant les étés 2021 et 2022, Christian a été membre de l’Aspen Contemporary Ensemble. Parmi ses anciens professeur(e)s figurent Marina Piccinini, Paula Robison, Denis Bluteau et Camille Churchfield.</p>
<p class="p1" style="text-align: justify;">Christian est extrêmement reconnaissant envers la Fondation Baxter et Alma Ricard ainsi que la Fondation Sylva Gelber pour leur généreux soutien dans ses études doctorales à la Peabody Institute.</p>
<p>&nbsp;</p>
<p><strong>Steve Cowan</strong>, guitare</p>
<p class="p1" style="text-align: justify;">Décrit comme « un musicien élégant dont le sens du rythme, solide et précis, soutient des interprétations colorées » (American Record Guide), le guitariste canadien Steve Cowan s’est produit partout au Canada, aux États-Unis, en Europe et en Nouvelle-Zélande. Parmi les faits saillants internationaux des dernières saisons, on compte des prestations en concerto avec l’Ensemble Del Arte (Allemagne), le Christchurch Symphony Orchestra (Nouvelle-Zélande) et deux albums solos parus chez HR Recordings (Espagne).</p>
<p class="p1" style="text-align: justify;">Comme musicien de chambre, Steve se produit régulièrement avec Forestare, un ensemble à cordes basé à Montréal. Son duo avec le guitariste Adam Cicchillitti a créé 21 nouvelles œuvres et a lancé un album de musique canadienne intitulé « FOCUS » (Analekta, 2019), lauréat de l’enregistrement classique de l’année aux East Coast Music Awards 2021. Leur enregistrement suivant, « Impressions intimes » (Analekta, 2021), propose des arrangements originaux d’œuvres de Debussy, Ravel, Mompou et Tailleferre. Depuis 2022, Steve est aussi le plus récent membre du réputé Canadian Guitar Quartet.</p>
<p class="p1" style="text-align: justify;">Steve a remporté des prix dans dix concours nationaux et internationaux, dont huit premiers prix. Plus récemment, il a obtenu le premier prix au Tallinn Guitar Competition, en Estonie, ce qui lui a valu d’être artiste en tournée EuroStrings pour la saison 2021. Pédagogue reconnu, Steve a animé des classes de maître publiques au Conservatorium van Amsterdam, à la Royal Danish Academy of Music, à l’Université de Victoria, à la New Zealand School of Music, et ailleurs.</p>
<p class="p1" style="text-align: justify;">Originaire de St. John’s, à Terre-Neuve, Steve Cowan détient des diplômes de la Memorial University, de la Manhattan School of Music et de l’Université McGill. Parmi ses professeurs figurent Sylvie Proulx, David Leisner et Jérôme Ducharme. Depuis 2019, il enseigne la guitare à la Schulich School of Music de l’Université McGill.</p>
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<p style="text-align: justify;"><span style="color: #000000;">Halifax is located in Mi’kma’ki, the ancestral and unceded territory of the Mi’kmaq people. The Mi’kmaw First Nation has lived on this land for millennia, and we acknowledge them as the past, present, and future caretakers of these lands and waterways. As we work to build a more inclusive and respectful community, we are reminded that we are all Treaty People.</span></p>
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<script id="mcjs">!function(c,h,i,m,p){m=c.createElement(h),p=c.getElementsByTagName(h)[0],m.async=1,m.src=i,p.parentNode.insertBefore(m,p)}(document,"script","https://chimpstatic.com/mcjs-connected/js/users/cacdb5cea8c3d756e10206eef/2d514618a5c323abf30d64eb6.js");</script><script type="application/ld+json">{"@context":"https://schema.org/","@type":"Product","@id":"https://www.ceciliaconcerts.ca/concert/christian-paquette-steve-cowan/#product","name":"Christian Paquette &amp;amp; Steve Cowan","url":"https://www.ceciliaconcerts.ca/concert/christian-paquette-steve-cowan/","description":"$30.00-$42.00/UNRESERVED SEATING/PLACES NON R\u00c9SERV\u00c9ES\n\t\t\t\n\t\t\t\tELECTRONIC TICKETS/BILLETS \u00c9LECTRONIQUES\n\nBuy Tickets / Acheter des billets\n\n\n\t\n\t\t\n\t\t\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tCHOOSE TYPE / CHOISIR TYPE : \n\t\t\t\t\t\t \n\t\t\t\t\t\t Choose an optionGeneralUnder 30GeneralUnder 30Clear selection\n                    \n\n\t\t\t\t\t\t\t\t\t\n\t        \t\t\n\t\n\t\n\t\t\n\t\n\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\tChristian Paquette &amp;amp; Steve Cowan quantity\n\t\n\t\n\n\t\t\t\t\tSELECT QTY &amp;amp; CLICK HERE\n\n\t\t\t\t\t\n\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t \n\t\n\n\t\n\t\t\n\n\n\t\t\t\n\t\t\t\tSave up to 25% off tickets to this concert when you book a subscription package \u2013 More Details / \u00c9conomisez jusqu'\u00e0 25 % sur les billets pour ce concert en r\u00e9servant une formule d'abonnement - Plus de d\u00e9tails\nABOUT-EN\nPROGRAM-EN\n\u00c0 PROPOS-FR\nPROGRAMME-FR \nChristian Paquette &amp;amp; Steve Cowan\n\n\n\t\t\t\n\t\t\t\tSATURDAY, FEBRUARY 21, 2026 \u2022 7:30PM\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, NOVA SCOTIA\n\t\t\t\n\t\t\t\tWHEELCHAIR ACCESSIBLE\n\n\nAbout this Concert\n\n\n\n\nFlutist Christian Paquette and guitarist Steve Cowan present a wonderful program that spans a range of musical styles, blending classical repertoire, contemporary sound worlds, and folk traditions. B\u00e9la Bart\u00f3k\u2019s \u201cRoumanian Folk Dances\u201d brings vibrant melodies and rhythmic energy, while Toru Takemitsu\u2019s \u201cToward the Sea\u201d (I. The Night, II. Moby Dick, III. Cape Cod) offers a serene and expansive soundscape inspired by the natural world. Claude Debussy\u2019s Four Pieces adds contrast and character through \u201cLa fille aux cheveux de lin\u201d for solo guitar, \u201cSyrinx\u201d for solo flute, \u201cR\u00eaverie,\u201d and \u201cGolliwog\u2019s Cakewalk,\u201d revealing the composer\u2019s distinctive textures in a new light. The program also features \u201cFolk Suite\u201d by Canadian composer Jason Noble, alongside Osvaldo Golijov\u2019s \u201cFish Tale,\u201d an evocative exploration of sound and colour. Astor Piazzolla\u2019s \u201cHistoire du Tango\u201d (I. Bordel 1900, II. Caf\u00e9 1930, III. Nightclub 1960) adds sharp rhythm, atmosphere, and passion. With Paquette\u2019s expressive flute and Cowan\u2019s precise guitar work, this performance highlights the intimate colour and contrast of their unique duo pairing. Season Sponsor: Nice Moves / Red Door Realty.\nThis performance is made possible with the generous support of John and Joanne LeBlanc, and of Eve Proctor and Daniel Drory.\n\n\n\n\n\t\t\t\n\t\t\t\tARTISTS: Christian Paquette, flute; Steve Cowan, guitar\n\t\t\t\n\t\t\t\tMAIN STAGE CONCERTS SERIES\n\n\nAbout this Program\n\n\n\n&amp;nbsp;\nB\u00e9la Bart\u00f3k (1881-1945)\nRoumanian Folk Dances\nBartok is considered one of the most important composers of the Twentieth Century.\u00a0 He is also rated alongside Franz Liszt as the greatest of Hungarian composers. Born in the Kingdom of Hungary, he was a gifted child. His mother, who taught him piano, claimed that he could distinguish between different dance rhythms before he could talk. He composed piano pieces from the age of nine and made his concert debut as an eleven year old. In his twenties, he met, and was influenced by Richard Strauss and Claude Debussy, but it was his meeting with Zoltan Kodaly which changed his musical direction. Together, they began to explore and collect folk music of his native Hungary (which at that time included Transylvania, now a part of Romania). Bart\u00f3k and Kod\u00e1ly set about incorporating elements of Magyar peasant music into their compositions. They both frequently quoted folk song melodies verbatim and wrote pieces derived entirely from authentic songs.\nAmong the pieces based on peasant tunes he heard in Transylvania is his set of six Romanian Folk Dances. In their original incarnation, these six brief dances were played on fiddle or shepherd\u2019s flute.\u00a0 Bartok made piano arrangements of the melodies in 1915 and two years later orchestrated them for a small ensemble. Since then, the Romanian Folk Danceshave been performed frequently and have been arranged for piano/violin duo, for string orchestra, for two cellos, and for flute and guitar.\n\n\n&amp;nbsp;\n\nToru Takemitsu (1930-1996)\nToward The Sea\nI. The Night\nII. Moby Dick\nIII. Cape Cod\n\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\".\u00a0 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.\u00a0 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\u00a0 Takemitsu remained largely self-taught throughout his career, yet, despite his lack of formal musical education, he succeeded.\u00a0 He published an enormous amount of music \u2013 including over a hundred film scores \u2013 in a wide range of styles and genres. As conductor Seiji Ozawa noted: \"Toru Takemitsu...is the first Japanese composer to write for a world audience and achieve international recognition.\u201d\nToward the Sea was composed in 1981 on a commission from Green Peace\u2019s \u201cSave the Whales\u201d\u00a0 campaign. Three different versions exist, but the original was composed for flute and guitar. The titles of the three sections are references to Herman Melville\u2019s novel Moby Dick. Takemitsu said that he wished to emphasize the \u201cspiritual dimension of the book\u201d and noted that \"the music is a homage to the sea which creates all things and a sketch for the sea of tonality.\u201d\n\n&amp;nbsp;\nClaude Debussy (1862-1916)\nFour Debussy Pieces\nLa fille aux cheveux de lin\nSyrinx\nR\u00eaverie\nGolliwog's Cakewalk\n\nDebussy composed \u201cSyrinx\u201d in 1913.\u00a0 It was the first significant piece composed for solo flute since C.P.E.Bach\u2019s Sonata for Flute in A minor written in 1747.\u00a0 It was originally played offstage as incidental music for Gabriel Mourey\u2019s play Psyche.\u00a0 The title \u201cSyrinx\u201d refers to the Greek myth where the nymph, Syrinx, is pursued by the god, Pan. To elude him, she transforms herself into reeds and hides in a marsh. Pan, lamenting losing her, unknowingly cuts down the reeds and transforms them into a pan flute on which he plays his lament.\n\u00a0\u201cLa fille aux cheveux de lin\u201d (\u201cThe Girl with the Flaxen Hair\u201d) was composed as one of a set of Preludes. It was completed in January of 1910 and received its premiere in London in June of that year followed shortly thereafter by its American premiere, attaining global success almost instantly.\u00a0 It was inspired by Leconte de Lisle\u2019s love poem of the same name.\u00a0 In art and poetry, flaxen hair has been used as a symbol of innocence and naivety, and Debussy captures this in the simplicity of its memorable tune.\n\u201cR\u00eaverie\u201d is another of Debussy\u2019s most popular pieces.\u00a0 In spite of that, Debussy dismissed it as \u201ca thing of no importance\u201d which he had tossed off as a favour to his publisher and for \u201cpurely material considerations\u201d This dismissal perhaps stems from the piece\u2019s simplicity. Composed in 1890, quite early in his career, \u201cR\u00eaverie\u201d is calm, peaceful and prioritizes atmosphere and reaching a dreamlike state. Thus, it is often used as music for mindfulness and meditation exercises.\nIn 1908, Debussy composed a suite of pieces for his three year old daughter, Claude-Emma (whom he called Chouchou). The suite, Children\u2019s Corner, depicts toys that come to life.\u00a0 \u201cGolliwog's Cakewalk\u201d is the last in the series of six pieces. The Golliwog of the title was a popular black rag doll of that era, and a cakewalk was a dance competition for which the winner \u201ctook the cake\u201d that was awarded as a prize. It is clearly influenced by Afro-American ragtime and jazz, which Debussy considered America\u2019s most worthwhile contribution to classical music.\n\n&amp;nbsp;\nJason Noble (born 1980)\nFolk Suite\nJason Noble, composer, researcher and educator, is a proud native Newfoundlander who often incorporates elements of his Newfoundland heritage into his music. He possesses a music degree from Memorial University as well as a PhD from McGill and he is currently Professor of Instrumental and Electroacoustic Composition at Universit\u00e9 de Moncton.\u00a0 His compositions have been performed across Canada, the United States, throughout most of Europe and in New Zealand.\u00a0 His compositions have been called \u201ca remarkable achievement, indeed brilliant, colourful, astounding, challenging.\u201d His work seeks balance between innovation and accessibility, motivated by a belief that contemporary music can be genuinely progressive and genuinely accessible at the same time.\nFolk Suite, was initially composed for marimba and cello in 2019 and later arranged for guitar and flute. This later arrangement was nominated for an East Coast Music Award (ECMA) for outstanding composition after it was recorded in 2023. The suite consists of six brief sections which blend the traditional and the contemporary and feature especially elements of Newfoundland folk music. The six sections are as follows: i Overture, ii Air, iii Ceilidh, iv Ballad, v Jig and vi. Reel.\n\n&amp;nbsp;\nOsvaldo Golijov (born 1960)\n\n\nFish Tale \nOsvaldo Golijov was born to Romanian Jewish immigrants in La Plata, Argentina.\u00a0 His mother was a piano teacher and his father was a physician. He studied music throughout his childhood in La Plata. In 1983, he emigrated to Israel where he studied at the Rubin School of Music in Jerusalem.\u00a0 Three years later, he entered the University of Pennsylvania where he completed his Doctorate. He has been on the Faculty of Music at the College of the Holy Cross in Worcester, Massachusetts since 1991. During this time, Golijov has been a prolific composer in a variety of genres.\u00a0 He has composed a number of vocal works, most notably for soprano Dawn Upshaw, a large number of orchestral and chamber pieces and several film scores. In addition to a MacArthur Fellowship, he has won two Grammy Awards.\nComposed in 1998 for flute and guitar, Fish Tale is a \u201cmagical soundscape\u201d describing a fish\u2019s lifetime odyssey, during both storms and calm, travelling through oceans, rain forests and even a fish bowl. It is filled with cultural references including African thumb piano, Brazilian samba and Golijov\u2019s native Argentinian tango. Golijov, in the notes accompanying the publication of the piece, described it as a \u201clove letter\u201d and a \u201cwatercolor\u201d.\n\n\n\n\n\n&amp;nbsp;\nAstor Piazzolla (1921-1992)\nHistoire du Tango\nI. Bordel 1900\nII. Caf\u00e9 1930\nIII. Nightclub 1960\n\nAstor Piazzolla was born near Buenos Aires in Argentina.\u00a0 When he was four, his family moved to America and settled in Greenwich Village in New York. Here, young Piazzolla was exposed to jazz and classical music, but also spent hours listening to his father\u2019s collection of tango records. His father bought him a bandoneon from a pawn shop when he was eight and by the time he was twelve, he was playing Bach on the bandoneon and composing tangos. Shortly after his family moved back to Argentina in 1936, Piazzolla began to play with local tango orchestras, sometimes arranging and composing music for the orchestras to perform. He studied composition during the days while performing at night, and in 1953, his composition Buenos Aires Symphony won him an opportunity to go to Paris to study with Nadia Boulanger, the world\u2019s foremost musical pedagogue. She encouraged him to focus on the tango, the music that was so obviously close to his heart.\u00a0 On his return to Argentina, he formed the \u201cOcteto Buenos Aires\u201d. His octet broke the mould of the typical tangoorchestra by creating a sound closer to chamber music but with jazz-like improvisations. This \u201cnuevo tango\u201d was controversial in his homeland, but it gained acceptance in Europe and North America. In effect, Piazzolla had moved the tango out of the bordellos and dance halls and into the concert hall.\nComposed in 1985, Histoire du Tango is a four movement piece of music which conveys the development of the tango. The tango originated in Buenos Aires in 1882. It was first played on guitar and flute. The opening movement, \u201cBordel 1900\u201d is a high-spirited tango painting a picture of the good natured chatter of the women who peopled the bordellos as they teased the policemen, thieves, sailors, and riffraff who came to see them.\u00a0 \u201cCaf\u00e9, 1930\u201d presents another age of the tango. People stopped dancing to it as they had in 1900, preferring instead simply to listen to it. It became more romantic. This tango has undergone total transformation: the movements are slower, with new and often melancholy harmonies. \u201cNightclub 1960\u201d is the third movement. It marks a transition from the tango from dance music to a more modern music that fuses the international rhythms of jazz and bossa nova with the traditional sound of the tango.\n\n\n\n\n\nProgram notes by Larry Bent\n\n\n\nAbout the Artists\n\nChristian Paquette, flute\nFrench-Canadian flutist Christian Paquette is the newly appointed Principal Flute of the Winnipeg Symphony Orchestra. He previously held the positions of Principal Flute with the Kitchener-Waterloo Symphony, the York Symphony Orchestra, and the Baltimore Chamber Orchestra. He completed his Doctor of Musical Arts degree at the Peabody Institute of the Johns Hopkins University under the tutelage of international soloist Marina Piccinini. He has also worked in flute repairs with Adam Workman, founder of Flutistry Boston. He has frequently performed back in his hometown of Ottawa, Canada, with the Ottawa Symphony Orchestra, the National Arts Centre Orchestra, and the Thirteen Strings Ensemble. He was also the President of the Ottawa Flute Association from 2015 to 2017.\nChristian has performed in notable venues across North America and Europe, including the Barbican and the BBC Proms at the Royal Albert Hall with the BBC Symphony Orchestra, the Shriver Hall Concert Series in Baltimore, MD, the Music and Beyond Festival in Ottawa, as well as the National Arts Centre Fourth Stage. He has given concerto performances in the U.K. with the Farnborough Symphony Orchestra (Reinecke Concerto), as well as the Peabody Symphony Orchestra (Nielsen Concerto) under the baton of Miguel Harth-Bedoya, the University of Ottawa Symphony Orchestra (Ibert and Nielsen Concertos), and with the Ottawa Chamber Orchestra (Rodrigo \u201cConcierto Pastoral\u201d).\nHe is the recipient of numerous competition awards, such as the MPIMC (Marina Piccinini International Master Classes) Concerto Competition, first prize at the Yale Gordon Competition, Canadian Music Competition, the National Music Festival, the NACO Bursary Competition, and many others. During the summer months in 2021 and 2022, Christian was a Fellow in the Aspen Contemporary Ensemble. Past teachers include Marina Piccinini, Paula Robison, Denis Bluteau, and Camille Churchfield.\nChristian is extremely grateful to the Fondation Baxter et Alma Ricard as well as the Sylva Gelber Music Foundation for their generous support in his doctoral studies at the Peabody Institute.\n\n\n&amp;nbsp;\n\nSteve Cowan, guitar\nDescribed as \u201can elegant musician whose strong, crisp sense of rhythm under-pins his colourful interpretations\u201d (American Record Guide), the Canadian guitarist Steve Cowan has performed throughout Canada, the United States, Europe, and New Zealand. International highlights from recent seasons include concerto performances with Ensemble Del Arte (Germany), the Christchurch Symphony Orchestra (New Zealand), and two solo albums with HR Recordings (Spain).\nAs a chamber musician, Steve performs regularly with Forestare, a Montr\u00e9al-based string ensemble. His duo with guitarist Adam Cicchillitti has premi\u00e8red 21 new works and released an album of Canadian music titled FOCUS (Analekta, 2019), which won Classical Recording of the Year at the 2021 East Coast Music Awards. Their next recording, Impressions intimes (Analekta, 2021), features original arrangements of Debussy, Ravel, Mompou and Tailleferre. As of 2022, Steve is also the newest member of the renowned Canadian Guitar Quartet.\nSteve has won awards at ten national and international competitions, eight of which are first prizes. Most recently, he won First Prize at the Tallinn Guitar Competition in Estonia, making him a EuroStrings touring artist for the 2021 season. Also a distinguished teacher, Steve has given public masterclasses at the Conservatorium van Amsterdam, the Royal Danish Academy of Music, the University of Victoria, the New Zealand School of Music, and more.\nOriginally from St. John\u2019s, Newfoundland, Steve Cowan holds degrees from Memorial University, the Manhattan School of Music, and McGill University. His teachers include Sylvie Proulx, David Leisner and J\u00e9r\u00f4me Ducharme. Since 2019, he has been a guitar instructor at the Schulich School of Music of McGill University.\n\n\n\nChristian Paquette et Steve Cowan\n\n\n\t\t\t\n\t\t\t\tSAMEDI 21 FEVRIER 2026 \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 fl\u00fbtiste Christian Paquette et le guitariste Steve Cowan pr\u00e9sentent un magnifique programme qui parcourt une gamme de styles musicaux, mariant le r\u00e9pertoire classique, des univers sonores contemporains et des traditions folkloriques. Les \u00ab Roumanian Folk Dances \u00bb de B\u00e9la Bart\u00f3k font entendre des m\u00e9lodies \u00e9clatantes et une \u00e9nergie rythmique, tandis que \u00ab Toward the Sea \u00bb de Toru Takemitsu (I. The Night, II. Moby Dick, III. Cape Cod) d\u00e9ploie un paysage sonore serein et ample, inspir\u00e9 par le monde naturel. Les Four Pieces de Claude Debussy ajoutent contraste et caract\u00e8re avec \u00ab La fille aux cheveux de lin \u00bb pour guitare seule, \u00ab Syrinx \u00bb pour fl\u00fbte seule, \u00ab R\u00eaverie \u00bb et \u00ab Golliwog\u2019s Cakewalk \u00bb, r\u00e9v\u00e9lant les textures distinctives du compositeur sous un nouvel \u00e9clairage. Le programme comprend aussi la \u00ab Folk Suite \u00bb du compositeur canadien Jason Noble, aux c\u00f4t\u00e9s de \u00ab Fish Tale \u00bb d\u2019Osvaldo Golijov, une exploration \u00e9vocatrice du son et de la couleur. \u00ab Histoire du Tango \u00bb d\u2019Astor Piazzolla (I. Bordel 1900, II. Caf\u00e9 1930, III. Nightclub 1960) ajoute rythme, atmosph\u00e8re et passion. Avec la fl\u00fbte expressive de Paquette et le jeu pr\u00e9cis de Cowan, ce concert met en valeur la couleur intime et les contrastes de leur duo. Sponsor de la saison : Nice Moves / Red Door Realty.\nCette repr\u00e9sentation est rendue possible gr\u00e2ce au g\u00e9n\u00e9reux soutien de John et Joanne LeBlanc, ainsi que d\u2019Eve Proctor et Daniel Drory.\n\n\n\n\t\t\t\n\t\t\t\tARTISTES : Christian Paquette, fl\u00fbte ; Steve Cowan, guitare\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\n\nB\u00e9la Bart\u00f3k (1881-1945)\n\u00ab Roumanian Folk Dances \u00bb\nBart\u00f3k est consid\u00e9r\u00e9 comme l\u2019un des compositeurs les plus importants du XXe si\u00e8cle. On le place aussi aux c\u00f4t\u00e9s de Franz Liszt parmi les plus grands compositeurs hongrois. N\u00e9 dans le Royaume de Hongrie, il a montr\u00e9 tr\u00e8s t\u00f4t des dons exceptionnels. Sa m\u00e8re, qui lui enseignait le piano, affirmait qu\u2019il distinguait diff\u00e9rents rythmes de danse avant m\u00eame de parler. Il a compos\u00e9 des pi\u00e8ces pour piano d\u00e8s l\u2019\u00e2ge de neuf ans et a fait ses d\u00e9buts en concert \u00e0 onze ans. Dans la vingtaine, il a rencontr\u00e9 Richard Strauss et Claude Debussy, qui l\u2019ont influenc\u00e9, mais sa rencontre avec Zolt\u00e1n Kod\u00e1ly a transform\u00e9 son orientation musicale. Ensemble, ils ont commenc\u00e9 \u00e0 explorer et \u00e0 recueillir la musique folklorique de leur Hongrie natale, qui comprenait alors la Transylvanie, aujourd\u2019hui une r\u00e9gion de la Roumanie. Bart\u00f3k et Kod\u00e1ly ont entrepris d\u2019int\u00e9grer des \u00e9l\u00e9ments de la musique paysanne magyare \u00e0 leurs compositions. Tous deux citaient souvent des m\u00e9lodies folkloriques mot pour mot et \u00e9crivaient des \u0153uvres enti\u00e8rement d\u00e9riv\u00e9es de chants authentiques.\nParmi les \u0153uvres inspir\u00e9es des airs paysans entendus en Transylvanie figure ce recueil de six \u00ab Romanian Folk Dances \u00bb. \u00c0 l\u2019origine, ces six br\u00e8ves danses \u00e9taient jou\u00e9es au violon ou \u00e0 la fl\u00fbte de berger. Bart\u00f3k en a fait des arrangements pour piano en 1915, puis, deux ans plus tard, les a orchestr\u00e9es pour un petit ensemble. Depuis, les \u00ab Romanian Folk Dances \u00bb sont souvent jou\u00e9es et ont \u00e9t\u00e9 arrang\u00e9es pour duo piano-violon, pour orchestre \u00e0 cordes, pour deux violoncelles, ainsi que pour fl\u00fbte et guitare.\n\n&amp;nbsp;\nToru Takemitsu (1930-1996)\n\u00ab Toward The Sea \u00bb\nI. \u00ab The Night \u00bb\nII. \u00ab Moby Dick \u00bb\nIII. \u00ab Cape Cod \u00bb\n\nT\u014dru Takemitsu est n\u00e9 \u00e0 Tokyo en octobre 1930. Peu avant son quatorzi\u00e8me anniversaire, il a \u00e9t\u00e9 enr\u00f4l\u00e9 dans l\u2019arm\u00e9e japonaise. Cette exp\u00e9rience a chang\u00e9 le cours de sa vie. D\u2019abord, elle l\u2019a amen\u00e9 \u00e0 prendre ses distances avec la musique traditionnelle de son Japon natal, puisque la musique traditionnelle japonaise \u00ab rappelait toujours les amers souvenirs de la guerre \u00bb. Ensuite, c\u2019est durant son service militaire que Takemitsu a d\u00e9couvert la musique classique occidentale, qu\u2019il \u00e9coutait en secret avec d\u2019autres soldats. Ils la faisaient jouer sur un gramophone, avec une aiguille improvis\u00e9e taill\u00e9e dans du 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. \u00c0 seize ans, il s\u2019est consacr\u00e9 \u00e0 la composition, parce que \u00ab dans la musique, j\u2019ai trouv\u00e9 ma raison d\u2019\u00eatre comme homme. Apr\u00e8s la guerre, la musique \u00e9tait la seule chose \u00bb. Takemitsu est rest\u00e9 en grande partie autodidacte tout au long de sa carri\u00e8re et, malgr\u00e9 l\u2019absence de formation musicale formelle, il a r\u00e9ussi. Il a publi\u00e9 une quantit\u00e9 consid\u00e9rable de musique, dont plus d\u2019une centaine de musiques de film, dans un vaste \u00e9ventail de styles et de genres. Comme l\u2019a not\u00e9 le chef Seiji Ozawa : \u00ab Toru Takemitsu\u2026 est le premier compositeur japonais \u00e0 \u00e9crire pour un public mondial et \u00e0 obtenir une reconnaissance internationale. \u00bb\n\u00ab Toward the Sea \u00bb a \u00e9t\u00e9 compos\u00e9e en 1981, sur commande de la campagne \u00ab Save the Whales \u00bb de Greenpeace. Trois versions existent, mais l\u2019originale a \u00e9t\u00e9 \u00e9crite pour fl\u00fbte et guitare. Les titres des trois sections font r\u00e9f\u00e9rence au roman \u00ab Moby Dick \u00bb de Herman Melville. Takemitsu a dit qu\u2019il souhaitait mettre en valeur la \u00ab dimension spirituelle du livre \u00bb et a not\u00e9 que \u00ab la musique est un hommage \u00e0 la mer qui cr\u00e9e toutes choses et une esquisse de la mer de la tonalit\u00e9 \u00bb.\n\n&amp;nbsp;\nClaude Debussy (1862-1916)\n\u00ab Quatre pi\u00e8ces de Debussy \u00bb\n\u00ab La fille aux cheveux de lin \u00bb\n\u00ab Syrinx \u00bb\n\u00ab R\u00eaverie \u00bb\n\u00ab Golliwog\u2019s Cakewalk \u00bb\n\nDebussy a compos\u00e9 \u00ab Syrinx \u00bb en 1913. Il s\u2019agissait de la premi\u00e8re \u0153uvre importante \u00e9crite pour fl\u00fbte seule depuis la \u00ab Sonata for Flute in A minor \u00bb de C.P.E. Bach, compos\u00e9e en 1747. \u00c0 l\u2019origine, la pi\u00e8ce \u00e9tait jou\u00e9e hors sc\u00e8ne comme musique de sc\u00e8ne pour la pi\u00e8ce \u00ab Psyche \u00bb de Gabriel Mourey. Le titre \u00ab Syrinx \u00bb renvoie au mythe grec o\u00f9 la nymphe Syrinx est poursuivie par le dieu Pan. Pour lui \u00e9chapper, elle se transforme en roseaux et se cache dans un marais. Pan, d\u00e9plorant sa perte, coupe sans le savoir les roseaux et les transforme en fl\u00fbte de Pan, sur laquelle il joue sa lamentation.\n\u00ab La fille aux cheveux de lin \u00bb (\u00ab The Girl with the Flaxen Hair \u00bb) a \u00e9t\u00e9 compos\u00e9e dans le cadre d\u2019un recueil de pr\u00e9ludes. L\u2019\u0153uvre a \u00e9t\u00e9 achev\u00e9e en janvier 1910 et a connu sa cr\u00e9ation \u00e0 Londres en juin de la m\u00eame ann\u00e9e, suivie peu apr\u00e8s par sa cr\u00e9ation am\u00e9ricaine, avec un succ\u00e8s mondial presque imm\u00e9diat. Elle s\u2019inspire du po\u00e8me d\u2019amour de Leconte de Lisle portant le m\u00eame titre. En art et en po\u00e9sie, les cheveux couleur lin ont servi de symbole d\u2019innocence et de na\u00efvet\u00e9, et Debussy traduit cela par la simplicit\u00e9 de sa m\u00e9lodie m\u00e9morable.\n\u00ab R\u00eaverie \u00bb compte aussi parmi les pi\u00e8ces les plus populaires de Debussy. Malgr\u00e9 cela, Debussy l\u2019a \u00e9cart\u00e9e en la qualifiant de \u00ab chose sans importance \u00bb \u00e9crite \u00e0 la h\u00e2te pour rendre service \u00e0 son \u00e9diteur et pour des \u00ab consid\u00e9rations purement mat\u00e9rielles \u00bb. Cette prise de distance vient peut-\u00eatre de la simplicit\u00e9 de la pi\u00e8ce. Compos\u00e9e en 1890, assez t\u00f4t dans sa carri\u00e8re, \u00ab R\u00eaverie \u00bb reste calme et paisible, et privil\u00e9gie l\u2019atmosph\u00e8re et l\u2019acc\u00e8s \u00e0 un \u00e9tat r\u00eaveur. Pour cette raison, on l\u2019emploie souvent dans des exercices de pleine conscience et de m\u00e9ditation.\nEn 1908, Debussy a compos\u00e9 une suite pour sa fille de trois ans, Claude-Emma, qu\u2019il appelait Chouchou. La suite, \u00ab Children\u2019s Corner \u00bb, met en sc\u00e8ne des jouets qui prennent vie. \u00ab Golliwog\u2019s Cakewalk \u00bb est la derni\u00e8re des six pi\u00e8ces. Le golliwog du titre \u00e9tait une poup\u00e9e noire en chiffon populaire \u00e0 l\u2019\u00e9poque, et le cakewalk \u00e9tait un concours de danse dont le gagnant \u00ab remportait le g\u00e2teau \u00bb remis en prix. La pi\u00e8ce s\u2019inspire clairement du ragtime et du jazz afro-am\u00e9ricains, que Debussy consid\u00e9rait comme la contribution la plus valable de l\u2019Am\u00e9rique \u00e0 la musique classique.\n\n&amp;nbsp;\nJason Noble (n\u00e9 en 1980)\n\u00ab Folk Suite \u00bb\nJason Noble, compositeur, chercheur et p\u00e9dagogue, est un fier Terre-Neuvien qui int\u00e8gre souvent des \u00e9l\u00e9ments de son h\u00e9ritage terre-neuvien \u00e0 sa musique. Il d\u00e9tient un dipl\u00f4me en musique de l\u2019Universit\u00e9 Memorial ainsi qu\u2019un doctorat (PhD) de l\u2019Universit\u00e9 McGill, et il est actuellement professeur de composition instrumentale et \u00e9lectroacoustique \u00e0 l\u2019Universit\u00e9 de Moncton. Ses \u0153uvres ont \u00e9t\u00e9 jou\u00e9es partout au Canada, aux \u00c9tats-Unis, dans la majeure partie de l\u2019Europe et en Nouvelle-Z\u00e9lande. On a qualifi\u00e9 ses compositions de \u00ab remarquable r\u00e9ussite, brillante, color\u00e9e, stup\u00e9fiante, exigeante \u00bb. Son travail cherche un \u00e9quilibre entre innovation et accessibilit\u00e9, port\u00e9 par la conviction que la musique contemporaine peut \u00eatre progressive et accessible \u00e0 la fois.\n\u00ab Folk Suite \u00bb a d\u2019abord \u00e9t\u00e9 compos\u00e9e pour marimba et violoncelle en 2019, puis arrang\u00e9e plus tard pour guitare et fl\u00fbte. Cette version a \u00e9t\u00e9 mise en nomination aux East Coast Music Awards (ECMA) dans la cat\u00e9gorie composition remarquable apr\u00e8s son enregistrement en 2023. La suite comporte six courtes sections qui marient tradition et modernit\u00e9, en mettant particuli\u00e8rement en valeur des \u00e9l\u00e9ments de la musique folklorique de Terre-Neuve. Les six sections sont les suivantes : i. \u00ab Overture \u00bb, ii. \u00ab Air \u00bb, iii. \u00ab Ceilidh \u00bb, iv. \u00ab Ballad \u00bb, v. \u00ab Jig \u00bb et vi. \u00ab Reel \u00bb.\n\n\n&amp;nbsp;\nOsvaldo Golijov (n\u00e9 en 1960)\n\u00ab Fish Tale \u00bb\nOsvaldo Golijov est n\u00e9 \u00e0 La Plata, en Argentine, de parents immigr\u00e9s juifs roumains. Sa m\u00e8re \u00e9tait professeure de piano et son p\u00e8re, m\u00e9decin. Il a \u00e9tudi\u00e9 la musique tout au long de son enfance \u00e0 La Plata. En 1983, il a \u00e9migr\u00e9 en Isra\u00ebl, o\u00f9 il a \u00e9tudi\u00e9 \u00e0 la Rubin School of Music, \u00e0 J\u00e9rusalem. Trois ans plus tard, il est entr\u00e9 \u00e0 l\u2019Universit\u00e9 de Pennsylvanie, o\u00f9 il a compl\u00e9t\u00e9 son doctorat. Depuis 1991, il fait partie du corps professoral de musique du College of the Holy Cross, \u00e0 Worcester, au Massachusetts. Pendant cette p\u00e9riode, Golijov s\u2019est montr\u00e9 prolifique dans une grande diversit\u00e9 de genres. Il a compos\u00e9 plusieurs \u0153uvres vocales, notamment pour la soprano Dawn Upshaw, un grand nombre de pi\u00e8ces orchestrales et de musique de chambre, ainsi que plusieurs musiques de film. En plus d\u2019une bourse MacArthur, il a remport\u00e9 deux prix Grammy.\nCompos\u00e9e en 1998 pour fl\u00fbte et guitare, \u00ab Fish Tale \u00bb est un \u00ab paysage sonore magique \u00bb d\u00e9crivant l\u2019odyss\u00e9e d\u2019une vie de poisson, \u00e0 travers temp\u00eates et accalmies, voyageant entre oc\u00e9ans, for\u00eats tropicales, et m\u00eame un bocal \u00e0 poissons. L\u2019\u0153uvre regorge de r\u00e9f\u00e9rences culturelles, dont le piano \u00e0 pouces africain, la samba br\u00e9silienne et le tango argentin natal de Golijov. Dans les notes accompagnant la publication de la pi\u00e8ce, Golijov l\u2019a d\u00e9crite comme une \u00ab lettre d\u2019amour \u00bb et une \u00ab aquarelle \u00bb.\n\n\n\n&amp;nbsp;\nAstor Piazzolla (1921-1992)\n\u00ab Histoire du Tango \u00bb\nI. \u00ab Bordel 1900 \u00bb\nII. \u00ab Caf\u00e9 1930 \u00bb\nIII. \u00ab Nightclub 1960 \u00bb\n\nAstor Piazzolla est n\u00e9 pr\u00e8s de Buenos Aires, en Argentine. \u00c0 l\u2019\u00e2ge de quatre ans, sa famille a d\u00e9m\u00e9nag\u00e9 aux \u00c9tats-Unis et s\u2019est install\u00e9e \u00e0 Greenwich Village, \u00e0 New York. L\u00e0, le jeune Piazzolla a d\u00e9couvert le jazz et la musique classique, tout en passant des heures \u00e0 \u00e9couter la collection de disques de tango de son p\u00e8re. Son p\u00e8re lui a achet\u00e9 un bandon\u00e9on dans un pr\u00eateur sur gages quand il avait huit ans. \u00c0 douze ans, il jouait Bach au bandon\u00e9on et composait des tangos. Peu apr\u00e8s le retour de sa famille en Argentine en 1936, Piazzolla a commenc\u00e9 \u00e0 jouer avec des orchestres de tango locaux, en arrangeant parfois des \u0153uvres et en composant pour eux. Il \u00e9tudiait la composition le jour tout en se produisant le soir. En 1953, sa composition \u00ab Buenos Aires Symphony \u00bb lui a valu l\u2019occasion d\u2019aller \u00e0 Paris \u00e9tudier aupr\u00e8s de Nadia Boulanger, consid\u00e9r\u00e9e comme la plus grande p\u00e9dagogue musicale de son \u00e9poque. Elle l\u2019a encourag\u00e9 \u00e0 se consacrer au tango, cette musique si proche de lui. \u00c0 son retour en Argentine, il a fond\u00e9 le \u00ab Octeto Buenos Aires \u00bb. Son octuor a rompu avec le mod\u00e8le de l\u2019orchestre de tango traditionnel, cr\u00e9ant un son plus proche de la musique de chambre, avec des improvisations d\u2019esprit jazz. Ce \u00ab nuevo tango \u00bb a suscit\u00e9 la controverse dans son pays, mais il a gagn\u00e9 en reconnaissance en Europe et en Am\u00e9rique du Nord. Piazzolla a ainsi d\u00e9plac\u00e9 le tango des bordels et des salles de danse vers la salle de concert.\nCompos\u00e9e en 1985, \u00ab Histoire du Tango \u00bb est une \u0153uvre en quatre mouvements qui retrace l\u2019\u00e9volution du tango. Le tango est n\u00e9 \u00e0 Buenos Aires en 1882. \u00c0 ses d\u00e9buts, il se jouait \u00e0 la guitare et \u00e0 la fl\u00fbte. Le premier mouvement, \u00ab Bordel 1900 \u00bb, est un tango anim\u00e9 qui \u00e9voque les bavardages de bonne humeur des femmes des bordels, taquinant les policiers, les voleurs, les marins et toute la faune de passage venue les voir. \u00ab Caf\u00e9 1930 \u00bb pr\u00e9sente une autre \u00e9poque du tango. On a cess\u00e9 de le danser comme en 1900, pr\u00e9f\u00e9rant l\u2019\u00e9couter. Il est devenu plus romantique. Le tango subit alors une transformation compl\u00e8te : tempos plus lents, harmonies nouvelles, souvent m\u00e9lancoliques. \u00ab Nightclub 1960 \u00bb est le troisi\u00e8me mouvement. Il marque une transition du tango, de musique de danse vers une musique plus moderne qui fusionne les rythmes internationaux du jazz et de la bossa nova avec la sonorit\u00e9 traditionnelle du tango.\n\nNotes de programme par Larry Bent\n\n\n\n\u00c0 propos des artistes\n\nChristian Paquette, flute\nLe fl\u00fbtiste franco-canadien Christian Paquette est r\u00e9cemment nomm\u00e9 fl\u00fbte solo \u00e0 l\u2019Orchestre symphonique de Winnipeg. Il a occup\u00e9 auparavant le poste de fl\u00fbte solo au sein des orchestres symphoniques de Kitchener-Waterloo, de York en Pennsylvanie et de l\u2019Orchestre de chambre de Baltimore. Il a obtenu son doctorat en musique \u00e0 la Peabody Institute de l\u2019Universit\u00e9 Johns Hopkins, sous la direction de la soliste internationale Marina Piccinini. Il a \u00e9galement travaill\u00e9 dans le domaine de la r\u00e9paration de fl\u00fbtes avec Adam Workman, fondateur de Flutistry Boston. Il se produit r\u00e9guli\u00e8rement dans sa ville natale d\u2019Ottawa avec l\u2019Orchestre symphonique d\u2019Ottawa, l\u2019Orchestre du Centre national des Arts et l\u2019ensemble Thirteen Strings. Il a \u00e9galement \u00e9t\u00e9 pr\u00e9sident de l\u2019Association des fl\u00fbtistes d\u2019Ottawa entre 2015 et 2017.\nChristian s\u2019est produit dans plusieurs salles prestigieuses en Am\u00e9rique du Nord et en Europe, notamment au Barbican et aux BBC Proms, au Royal Albert Hall, avec le BBC Symphony Orchestra, dans le cadre de la s\u00e9rie de concerts du Shriver Hall \u00e0 Baltimore (Maryland), au festival \u00ab Music and Beyond \u00bb \u00e0 Ottawa, ainsi qu\u2019au Centre national des Arts (quatri\u00e8me sc\u00e8ne). Il a interpr\u00e9t\u00e9 des concertos au Royaume-Uni avec l\u2019Orchestre symphonique de Farnborough (\u00ab Concerto \u00bb de Reinecke), ainsi qu\u2019avec le Peabody Symphony Orchestra (\u00ab Concerto \u00bb de Nielsen) sous la direction de Miguel Harth-Bedoya, avec l\u2019Orchestre symphonique de l\u2019Universit\u00e9 d\u2019Ottawa (concertos d\u2019Ibert et de Nielsen), et avec l\u2019Orchestre de chambre d\u2019Ottawa (\u00ab Concierto pastoral \u00bb de Rodrigo). Il a remport\u00e9 de nombreux prix lors de concours, tels que le Concours de concertos MPIMC (\u00ab Marina Piccinini International Master Classes \u00bb), le premier prix du Concours Yale Gordon, le Concours de musique du Canada, le Festival national de musique, le Concours de bourses de l\u2019Orchestre du Centre national des Arts, et bien d\u2019autres. Durant les \u00e9t\u00e9s 2021 et 2022, Christian a \u00e9t\u00e9 membre de l\u2019Aspen Contemporary Ensemble. Parmi ses anciens professeur(e)s figurent Marina Piccinini, Paula Robison, Denis Bluteau et Camille Churchfield.\nChristian est extr\u00eamement reconnaissant envers la Fondation Baxter et Alma Ricard ainsi que la Fondation Sylva Gelber pour leur g\u00e9n\u00e9reux soutien dans ses \u00e9tudes doctorales \u00e0 la Peabody Institute.\n\n&amp;nbsp;\n\nSteve Cowan, guitare\nD\u00e9crit comme \u00ab un musicien \u00e9l\u00e9gant dont le sens du rythme, solide et pr\u00e9cis, soutient des interpr\u00e9tations color\u00e9es \u00bb (American Record Guide), le guitariste canadien Steve Cowan s\u2019est produit partout au Canada, aux \u00c9tats-Unis, en Europe et en Nouvelle-Z\u00e9lande. Parmi les faits saillants internationaux des derni\u00e8res saisons, on compte des prestations en concerto avec l\u2019Ensemble Del Arte (Allemagne), le Christchurch Symphony Orchestra (Nouvelle-Z\u00e9lande) et deux albums solos parus chez HR Recordings (Espagne).\nComme musicien de chambre, Steve se produit r\u00e9guli\u00e8rement avec Forestare, un ensemble \u00e0 cordes bas\u00e9 \u00e0 Montr\u00e9al. Son duo avec le guitariste Adam Cicchillitti a cr\u00e9\u00e9 21 nouvelles \u0153uvres et a lanc\u00e9 un album de musique canadienne intitul\u00e9 \u00ab FOCUS \u00bb (Analekta, 2019), laur\u00e9at de l\u2019enregistrement classique de l\u2019ann\u00e9e aux East Coast Music Awards 2021. Leur enregistrement suivant, \u00ab Impressions intimes \u00bb (Analekta, 2021), propose des arrangements originaux d\u2019\u0153uvres de Debussy, Ravel, Mompou et Tailleferre. Depuis 2022, Steve est aussi le plus r\u00e9cent membre du r\u00e9put\u00e9 Canadian Guitar Quartet.\nSteve a remport\u00e9 des prix dans dix concours nationaux et internationaux, dont huit premiers prix. Plus r\u00e9cemment, il a obtenu le premier prix au Tallinn Guitar Competition, en Estonie, ce qui lui a valu d\u2019\u00eatre artiste en tourn\u00e9e EuroStrings pour la saison 2021. P\u00e9dagogue reconnu, Steve a anim\u00e9 des classes de ma\u00eetre publiques au Conservatorium van Amsterdam, \u00e0 la Royal Danish Academy of Music, \u00e0 l\u2019Universit\u00e9 de Victoria, \u00e0 la New Zealand School of Music, et ailleurs.\nOriginaire de St. John\u2019s, \u00e0 Terre-Neuve, Steve Cowan d\u00e9tient des dipl\u00f4mes de la Memorial University, de la Manhattan School of Music et de l\u2019Universit\u00e9 McGill. Parmi ses professeurs figurent Sylvie Proulx, David Leisner et J\u00e9r\u00f4me Ducharme. Depuis 2019, il enseigne la guitare \u00e0 la Schulich School of Music de l\u2019Universit\u00e9 McGill.","image":"https://www.ceciliaconcerts.ca/wp-content/uploads/2025/06/Cecilia-Concerts-Classical-Music-Halifax-Nova-Scotia-Flautist-Christian-Paquette-and-Guitarist-Steve-Cowan-1-3-1.jpg","sku":37080,"offers":[{"@type":"AggregateOffer","lowPrice":"30.00","highPrice":"42.00","offerCount":2,"priceValidUntil":"2027-12-31","availability":"https://schema.org/InStock","url":"https://www.ceciliaconcerts.ca/concert/christian-paquette-steve-cowan/","seller":{"@type":"Organization","name":"Cecilia Concerts | Halifax, Nova Scotia","url":"https://www.ceciliaconcerts.ca"},"priceCurrency":"CAD"}]}</script><style media="all" id="siteorigin-panels-layouts-footer">/* Layout 37080 */ #pgc-37080-0-0 { width:40.0263%;width:calc(40.0263% - ( 0.59973718222505 * 30px ) ) } #pgc-37080-0-1 { width:59.9737%;width:calc(59.9737% - ( 0.40026281777495 * 30px ) ) } #pl-37080 .so-panel { margin-bottom:1px } 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#pgc-w695d1bc7509b1-17-4 , #pgc-w695d1bc7509b1-17-5 , #pgc-w695d1bc7509b1-17-6 , #pgc-w695d1bc7509b1-17-7 , #pgc-w695d1bc7509b1-18-0 , #pgc-w695d1bc7509b1-18-1 , #pgc-w695d1bc7509b1-18-2 , #pgc-w695d1bc7509b1-18-3 , #pgc-w695d1bc7509b1-18-4 , #pgc-w695d1bc7509b1-18-5 , #pgc-w695d1bc7509b1-18-6 , #pgc-w695d1bc7509b1-18-7 , #pgc-w695d1bc7509b1-19-0 , #pgc-w695d1bc7509b1-19-1 , #pgc-w695d1bc7509b1-19-2 , #pgc-w695d1bc7509b1-19-3 , #pgc-w695d1bc7509b1-19-4 , #pgc-w695d1bc7509b1-19-5 , #pgc-w695d1bc7509b1-19-6 , #pgc-w695d1bc7509b1-19-7 , #pgc-w695d1bc7509b1-20-0 , #pgc-w695d1bc7509b1-20-1 , #pgc-w695d1bc7509b1-20-2 , #pgc-w695d1bc7509b1-20-3 , #pgc-w695d1bc7509b1-20-4 , #pgc-w695d1bc7509b1-20-5 , #pgc-w695d1bc7509b1-20-6 , #pgc-w695d1bc7509b1-20-7 { width:12.5%;width:calc(12.5% - ( 0.875 * 30px ) ) } #pl-w695d1bc7509b1 #panel-w695d1bc7509b1-25-0-1 { margin:0px 0px 0px 0px } #pl-w695d1bc7509b1 .so-panel:last-of-type { margin-bottom:0px } #pg-w695d1bc7509b1-6.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-6.panel-no-style , #pg-w695d1bc7509b1-7.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-7.panel-no-style , #pg-w695d1bc7509b1-8.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-8.panel-no-style , #pg-w695d1bc7509b1-9.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-9.panel-no-style , #pg-w695d1bc7509b1-10.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-10.panel-no-style , #pg-w695d1bc7509b1-11.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-11.panel-no-style , #pg-w695d1bc7509b1-12.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-12.panel-no-style , #pg-w695d1bc7509b1-15.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-15.panel-no-style , #pg-w695d1bc7509b1-16.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-16.panel-no-style , #pg-w695d1bc7509b1-17.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-17.panel-no-style , #pg-w695d1bc7509b1-18.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-18.panel-no-style , #pg-w695d1bc7509b1-19.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-19.panel-no-style , #pg-w695d1bc7509b1-20.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-20.panel-no-style , #pg-w695d1bc7509b1-24.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-24.panel-no-style , #pg-w695d1bc7509b1-25.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-25.panel-no-style { -webkit-align-items:flex-start;align-items:flex-start } #pg-w695d1bc7509b1-25> .panel-row-style , #panel-w695d1bc7509b1-25-0-2> .panel-widget-style { background-color:#16517e } #panel-w695d1bc7509b1-25-0-1> .panel-widget-style { background-color:#16517e;padding:0px 0px 0px 0px } @media (max-width:780px){ #pg-w695d1bc7509b1-6.panel-no-style, #pg-w695d1bc7509b1-6.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-6 , #pg-w695d1bc7509b1-7.panel-no-style, #pg-w695d1bc7509b1-7.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-7 , #pg-w695d1bc7509b1-8.panel-no-style, #pg-w695d1bc7509b1-8.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-8 , #pg-w695d1bc7509b1-9.panel-no-style, #pg-w695d1bc7509b1-9.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-9 , #pg-w695d1bc7509b1-10.panel-no-style, #pg-w695d1bc7509b1-10.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-10 , #pg-w695d1bc7509b1-11.panel-no-style, #pg-w695d1bc7509b1-11.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-11 , #pg-w695d1bc7509b1-12.panel-no-style, #pg-w695d1bc7509b1-12.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-12 , #pg-w695d1bc7509b1-15.panel-no-style, #pg-w695d1bc7509b1-15.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-15 , #pg-w695d1bc7509b1-16.panel-no-style, #pg-w695d1bc7509b1-16.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-16 , #pg-w695d1bc7509b1-17.panel-no-style, #pg-w695d1bc7509b1-17.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-17 , #pg-w695d1bc7509b1-18.panel-no-style, #pg-w695d1bc7509b1-18.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-18 , #pg-w695d1bc7509b1-19.panel-no-style, #pg-w695d1bc7509b1-19.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-19 , #pg-w695d1bc7509b1-20.panel-no-style, #pg-w695d1bc7509b1-20.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-20 , #pg-w695d1bc7509b1-24.panel-no-style, #pg-w695d1bc7509b1-24.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-24 , #pg-w695d1bc7509b1-25.panel-no-style, #pg-w695d1bc7509b1-25.panel-has-style > .panel-row-style, #pg-w695d1bc7509b1-25 { -webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column } #pg-w695d1bc7509b1-6 > .panel-grid-cell , #pg-w695d1bc7509b1-6 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-7 > .panel-grid-cell , #pg-w695d1bc7509b1-7 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-8 > .panel-grid-cell , #pg-w695d1bc7509b1-8 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-9 > .panel-grid-cell , #pg-w695d1bc7509b1-9 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-10 > .panel-grid-cell , #pg-w695d1bc7509b1-10 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-11 > .panel-grid-cell , #pg-w695d1bc7509b1-11 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-12 > .panel-grid-cell , #pg-w695d1bc7509b1-12 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-15 > .panel-grid-cell , #pg-w695d1bc7509b1-15 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-16 > .panel-grid-cell , #pg-w695d1bc7509b1-16 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-17 > .panel-grid-cell , #pg-w695d1bc7509b1-17 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-18 > .panel-grid-cell , #pg-w695d1bc7509b1-18 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-19 > .panel-grid-cell , #pg-w695d1bc7509b1-19 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-20 > .panel-grid-cell , #pg-w695d1bc7509b1-20 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-24 > .panel-grid-cell , #pg-w695d1bc7509b1-24 > .panel-row-style > .panel-grid-cell , #pg-w695d1bc7509b1-25 > .panel-grid-cell , #pg-w695d1bc7509b1-25 > .panel-row-style > .panel-grid-cell { width:100%;margin-right:0 } #pgc-w695d1bc7509b1-15-0 , #pgc-w695d1bc7509b1-15-1 , #pgc-w695d1bc7509b1-16-0 , #pgc-w695d1bc7509b1-16-1 , #pgc-w695d1bc7509b1-17-0 , #pgc-w695d1bc7509b1-17-1 , #pgc-w695d1bc7509b1-17-2 , #pgc-w695d1bc7509b1-17-3 , #pgc-w695d1bc7509b1-17-4 , #pgc-w695d1bc7509b1-17-5 , #pgc-w695d1bc7509b1-17-6 , #pgc-w695d1bc7509b1-18-0 , #pgc-w695d1bc7509b1-18-1 , #pgc-w695d1bc7509b1-18-2 , #pgc-w695d1bc7509b1-18-3 , #pgc-w695d1bc7509b1-18-4 , #pgc-w695d1bc7509b1-18-5 , #pgc-w695d1bc7509b1-18-6 , #pgc-w695d1bc7509b1-19-0 , #pgc-w695d1bc7509b1-19-1 , #pgc-w695d1bc7509b1-19-2 , #pgc-w695d1bc7509b1-19-3 , #pgc-w695d1bc7509b1-19-4 , #pgc-w695d1bc7509b1-19-5 , #pgc-w695d1bc7509b1-19-6 , #pgc-w695d1bc7509b1-20-0 , #pgc-w695d1bc7509b1-20-1 , 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