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<title>Charlotte Thiele, Bryan Cheng, &amp; Silvie Cheng: Legacy &#8226; Saturday, April 11, 2026 • 7:30pm</title>
	<meta name="description" content="Charlotte Thiele joins Bryan Cheng and Silvie Cheng in Halifax for a trio program of lush Romantic works and contemporary gems." />
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	<meta property="og:title" content="Charlotte Thiele, Bryan Cheng, &amp; Silvie Cheng: Legacy &#8226; Saturday, April 11, 2026 • 7:30pm" />
	<meta property="og:description" content="This program brings together German violinist Charlotte Thiele, our 2025/26 Musician-in-Residence cellist Bryan Cheng, and pianist Silvie Cheng for a performance that seamlessly blends emotion, intensity, and virtuosity. The program features Alexander Glazunov’s &quot;Sérénade espagnole&quot; and &quot;Chant du ménestrel&quot;, works that bring warmth and lyrical beauty to the stage, as well as Dmitri Shostakovich’s &quot;Piano Trio no. 2 in E minor&quot;, a piece rich with dramatic contrast. The trio also performs Lili Boulanger’s evocative &quot;2 Morceaux pour violon et piano&quot;, alongside Astor Piazzolla’s &quot;Cuatro Estaciones Porteñas,&quot; a vivid portrayal of the four seasons in Buenos Aires, showcasing the trio’s mastery of both classical and contemporary styles. With each work, Thiele and the Chengs offer a dynamic, multifaceted musical journey. Together, these internationally acclaimed musicians bring a deep sense of collaboration and artistry, having performed at countless prestigious venues worldwide. They have also shared their talents with renowned orchestras, bringing their chamber music expertise to larger ensembles across the globe. Presented with the generous support of Musician-in-Residence Presenting Partner – Lang Optometry and Eyewear. Season Sponsor: Nice Moves / Red Door Realty." />
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	<meta property="og:site_name" content="Cecilia Concerts | Halifax, Nova Scotia" />
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	<meta property="article:modified_time" content="2026-04-07T03:36:32+00:00" />
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	<meta name="twitter:title" content="Charlotte Thiele, Bryan Cheng, &amp; Silvie Cheng: Legacy &#8226; Saturday, April 11, 2026 • 7:30pm" />
	<meta name="twitter:description" content="This program brings together German violinist Charlotte Thiele, our 2025/26 Musician-in-Residence cellist Bryan Cheng, and pianist Silvie Cheng for a performance that seamlessly blends emotion, intensity, and virtuosity. The program features Alexander Glazunov’s &quot;Sérénade espagnole&quot; and &quot;Chant du ménestrel&quot;, works that bring warmth and lyrical beauty to the stage, as well as Dmitri Shostakovich’s &quot;Piano Trio no. 2 in E minor&quot;, a piece rich with dramatic contrast. The trio also performs Lili Boulanger’s evocative &quot;2 Morceaux pour violon et piano&quot;, alongside Astor Piazzolla’s &quot;Cuatro Estaciones Porteñas,&quot; a vivid portrayal of the four seasons in Buenos Aires, showcasing the trio’s mastery of both classical and contemporary styles. With each work, Thiele and the Chengs offer a dynamic, multifaceted musical journey. Together, these internationally acclaimed musicians bring a deep sense of collaboration and artistry, having performed at countless prestigious venues worldwide. They have also shared their talents with renowned orchestras, bringing their chamber music expertise to larger ensembles across the globe. Presented with the generous support of Musician-in-Residence Presenting Partner – Lang Optometry and Eyewear. 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-Cheng-Thiele-Cheng-Trio.jpg" />
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		<style type="text/css" title="dynamic-css" class="options-output">header #logo a.brand,.logofont{font-family:Roboto;line-height:1px;font-weight:400;font-style:normal;color:#ffffff;font-size:1px;}.kad_tagline{font-family:Roboto;line-height:1px;font-weight:400;font-style:normal;color:#ffffff;font-size:1px;}.product_item .product_details h5{font-family:Roboto;line-height:18px;font-weight:700;font-style:normal;color:#353535;font-size:15px;}h1{font-family:Roboto;line-height:32px;font-weight:700;font-style:normal;font-size:25px;}h2{font-family:Roboto;line-height:40px;font-weight:700;font-style:normal;font-size:32px;}h3{font-family:Roboto;line-height:34px;font-weight:700;font-style:normal;font-size:25px;}h4{font-family:Roboto;line-height:30px;font-weight:400;font-style:normal;color:#3f3f3f;font-size:24px;}h5{font-family:Roboto;line-height:13px;font-weight:400;font-style:normal;color:#0c0c0c;font-size:11px;}body{font-family:Roboto;line-height:20px;font-weight:400;font-style:normal;font-size:15px;}#nav-main ul.sf-menu a, .nav-main ul.sf-menu a{font-family:Roboto;line-height:15px;font-weight:400;font-style:normal;color:#ffffff;font-size:17px;}#nav-second ul.sf-menu a{font-family:Roboto;line-height:20px;font-weight:500;font-style:normal;color:#ffffff;font-size:18px;}#nav-main ul.sf-menu ul li a, #nav-second ul.sf-menu ul li a, .nav-main ul.sf-menu ul li a{line-height:17px;font-size:15px;}#nav-main ul.sf-menu ul li a:hover, #nav-main ul.sf-menu ul li a:focus, #nav-second ul.sf-menu ul li a:hover, #nav-second ul.sf-menu ul li a:focus, .nav-main ul.sf-menu ul li a:hover, .nav-main ul.sf-menu ul li a:focus{color:#d6552d;}.kad-nav-inner .kad-mnav, .kad-mobile-nav .kad-nav-inner li a,.nav-trigger-case{font-family:Roboto;line-height:18px;font-weight:normal;font-style:normal;color:#ffffff;font-size:16px;}</style>

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<body class="wp-singular product-template-default single single-product postid-37108 wp-embed-responsive wp-theme-virtue_premium theme-virtue_premium siteorigin-panels siteorigin-panels-before-js woocommerce woocommerce-page woocommerce-no-js tm-responsive kwt-woo-builder-product styles kt-turnoff-lightbox notsticky virtue-skin-default wide charlotte-thiele-bryan-cheng-silvie-cheng" data-smooth-scrolling="0" data-smooth-scrolling-hide="0" data-jsselect="1" data-product-tab-scroll="0" data-animate="1" data-sticky="0" >
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background-repeat: no-repeat;
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                                <tr>
                                    <td>
                                     
                                    <div class="wpfront-message wpfront-div">
                                        <p>SUPPORT CECILIA CONCERTS</p>                                    </div>
                                                       
                                        <div class="wpfront-div">
                                                                                                                                        <a class="wpfront-button" href="https://ceciliaconcerts.ca/donate-now/"  target="_blank" rel="noopener">MAKE A DONATION</a>
                                                                                                                                    </div>                                   
                                                                                                       
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				<div id="logo" class="logocase">
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													<div id="thelogo">
								<div class="kt-intrinsic-container kt-intrinsic-container-center" style="max-width:480px"><div class="kt-intrinsic" style="padding-bottom:25.208333333333%;"><img src="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halifax-Nova-Scotia-Logo-960x214-MOBILE-480x121.png" width="480" height="121" srcset="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halifax-Nova-Scotia-Logo-960x214-MOBILE-480x121.png 480w, https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halifax-Nova-Scotia-Logo-960x214-MOBILE-300x76.png 300w, https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halifax-Nova-Scotia-Logo-960x214-MOBILE-768x194.png 768w, https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halifax-Nova-Scotia-Logo-960x214-MOBILE.png 848w" sizes="(max-width: 480px) 100vw, 480px" class="kad-standard-logo" alt="Cecilia Concerts logo in large white serif text on a black background. To the right of the logo is a black-and-white logo for Season Sponsor “Nice Moves Real Estate | Jules Chamberlain.ca”" ></div></div>							</div>
												</a>
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<li  class=" menu-item-7825 menu-item menu-about"><a href="https://ceciliaconcerts.ca/about/"><span>About</span></a></li>
<li  class=" sf-dropdown menu-item-has-children menu-item-5430 menu-item menu-programs"><a href="https://www.ceciliaconcerts.ca/concerts/"><span>Programs</span></a>
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	<li  class=" menu-item-15651 menu-item menu-upcoming-concerts"><a href="https://www.ceciliaconcerts.ca/concerts/"><span>Upcoming Concerts</span></a></li>
	<li  class=" menu-item-25033 menu-item menu-composer-in-residence"><a href="https://www.ceciliaconcerts.ca/composer-in-residence/"><span>Composer-in-Residence</span></a></li>
	<li  class=" menu-item-38650 menu-item menu-developing-musician-award"><a href="https://www.ceciliaconcerts.ca/developing-musician-award/"><span>Developing Musician Award</span></a></li>
	<li  class=" menu-item-17480 menu-item menu-musician-in-residence"><a href="https://www.ceciliaconcerts.ca/musician-in-residence/"><span>Musician-in-Residence</span></a></li>
	<li  class=" menu-item-24976 menu-item menu-sensory-accessible-concerts"><a href="https://www.ceciliaconcerts.ca/sensory-accessible-concerts/"><span>Sensory-Accessible Concerts</span></a></li>
	<li  class=" menu-item-15653 menu-item menu-tickets-subscriptions"><a href="https://www.ceciliaconcerts.ca/tickets/"><span>Tickets &#038; Subscriptions</span></a></li>
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</li>
<li  class=" sf-dropdown menu-item-has-children menu-item-20232 menu-item menu-donate"><a href="https://www.ceciliaconcerts.ca/donate-now/"><span>Donate</span></a>
<ul class="sub-menu sf-dropdown-menu dropdown">
	<li  class=" menu-item-33670 menu-item menu-donate-now"><a href="https://www.ceciliaconcerts.ca/donate-now/"><span>Donate Now</span></a></li>
	<li  class=" menu-item-5704 menu-item menu-donation-options"><a title="Menu Item Donate" href="https://www.ceciliaconcerts.ca/donations/"><span>Donation Options</span></a></li>
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<li  class=" menu-item-5381 menu-item menu-contact"><a href="https://www.ceciliaconcerts.ca/contact/"><span>Contact</span></a></li>
            <li class="menu-cart-icon-kt sf-dropdown">
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				Save 10% off tickets to this concert when you book a subscription package – <strong><a href="https://ceciliaconcerts.ca/tickets/" target="_blank" rel="noopener">More Details</a></strong> / Économisez 10 % sur les billets de ce concert en réservant un forfait d’abonnement - <strong><a href="https://ceciliaconcerts.ca/tickets/" target="_blank" rel="noopener">Plus de détails</a></strong></p>
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<ul class="nav nav-tabs sc_tabs"><li class="active"><a href="#sctab8550" rel="nofollow">ABOUT-EN</a></li>
<li class=""><a href="#sctab8551" rel="nofollow">PROGRAM-EN</a></li>
<li class=""><a href="#sctab8552" rel="nofollow">À PROPOS-FR</a></li>
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<h1><strong>Charlotte Thiele, </strong><strong>Bryan Cheng, </strong><strong>&amp; Silvie Cheng: Legacy</strong></h1>
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<h5><strong>			<i class="icon-calendar " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				SATURDAY, APRIL 11, 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>
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				HALIFAX, NOVA SCOTIA</strong></h5>
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				WHEELCHAIR ACCESSIBLE</strong></h5>
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<h4>About this Concert</h4>
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<p>This program brings together German violinist Charlotte Thiele, our 2025/26 Musician-in-Residence cellist Bryan Cheng, and pianist Silvie Cheng for a performance that seamlessly blends emotion, intensity, and virtuosity. The program features Alexander Glazunov’s "Sérénade espagnole" and "Chant du ménestrel", works that bring warmth and lyrical beauty to the stage, as well as Dmitri Shostakovich’s "Piano Trio no. 2 in E minor", a piece rich with dramatic contrast. The trio also performs Lili Boulanger’s evocative "2 Morceaux pour violon et piano", alongside Astor Piazzolla’s "Cuatro Estaciones Porteñas," a vivid portrayal of the four seasons in Buenos Aires, showcasing the trio’s mastery of both classical and contemporary styles. With each work, Thiele and the Chengs offer a dynamic, multifaceted musical journey. Together, these internationally acclaimed musicians bring a deep sense of collaboration and artistry, having performed at countless prestigious venues worldwide. They have also shared their talents with renowned orchestras, bringing their chamber music expertise to larger ensembles across the globe. Presented with the generous support of Musician-in-Residence Presenting Partner – <a href="https://www.langoptometry.com" target="_blank" rel="noopener">Lang Optometry and Eyewear.</a> Season Sponsor: <a href="https://www.reddoorrealty.ca/our-realtors/jules-chamberlain/" target="_blank" rel="noopener">Nice Moves / Red Door Realty</a>.</div>
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				ARTISTS</strong>: Bryan Cheng, cello; Charlotte Thiele, violin; Silvie Cheng, piano</h5>
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				MAIN STAGE CONCERTS SERIES</strong></h5>
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<h4>About the Program</h4>
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<p class="p1"><strong>Alexander Glazunov</strong> (1865-1936)</p>
<p class="p1">"Sérénade espagnole," Op. 20, No. 2</p>
<p class="p1">"Chant du ménestrel," Op. 71</p>
<p class="p1" style="text-align: justify;">Alexander Glazunov was born in St. Petersburg and emerged with unusual speed as one of the leading figures of Russian music. He studied with Nikolai Rimsky Korsakov, and his early career was strongly supported by the publisher and patron Mitrofan Belyayev, whose circle helped shape musical life in late imperial Russia. Glazunov belonged to the generation after Balakirev and “The Five,” and his music often brings together Russian lyricism, rich orchestral colour, and a strong command of formal balance. In 1899 he joined the St. Petersburg Conservatory faculty, and in 1905 he became director, a role that made him one of the central musical administrators in Russia as well as one of its most admired composers.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">Sérénade espagnole is the second of Glazunov’s Deux morceaux pour violoncelle avec accompagnement d’orchestre, Op. 20, composed in 1888. The set was written for cello and orchestra and dedicated to the distinguished cellist Aleksandr Verzhbilovich, who was one of the great Russian string players of his day. In these years Glazunov was still in his early twenties and building a reputation as one of the brightest young composers in St. Petersburg. The work belongs to a broader late nineteenth century fascination with Spanish colour found in music across Europe. For Glazunov, Spain was not a source of documentary folk transcription, but a vivid imagined landscape that offered dance rhythm, elegance, and exotic flair.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">What makes Sérénade espagnole memorable is the way Glazunov turns a brief concert piece into a scene full of atmosphere. The writing is light on its feet, tuneful, and polished. The cello line sings almost throughout, and the accompaniment supports it with graceful rhythmic lift. Even in music of this scale, Glazunov’s gifts are clear. He knew how to write idiomatically for strings, how to shape a melody so that it feels generous under the hand, and how to suggest place and mood without overstatement. The result is less a portrait of Spain than a finely wrought Russian romantic fantasy about Spain, written with charm and confidence at the start of a major career.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">Chant du ménestrel, Op. 71, belongs to a later Glazunov. It was first published in 1901, also with a dedication to Aleksandr Verzhbilovich. By then Glazunov had become an established musical authority, no longer simply the gifted prodigy of the Belyayev circle but a mature composer and teacher with an important place in Russian cultural life. The title, “Song of the Minstrel,” places the work in a more inward and poetic world than the stylized brilliance of Sérénade espagnole.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">In this short work the cello is treated above all as a singing voice. The piece unfolds as a lyric monologue, intimate in scale yet dignified in expression. The “minstrel” of the title suggests an old storyteller or bard, and Glazunov responds with music that feels reflective, vocal, and slightly nostalgic. It is one of those compact works that has remained in the repertory because it says something direct and memorable in only a few minutes. There is no need for display for its own sake. Instead, Glazunov gives the soloist a line of noble simplicity and lets the instrument speak with warmth and restraint.<span class="Apple-converted-space"> </span></p>
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<p class="p1"><strong>Dmitri Shostakovich</strong> (1906-1975)</p>
<p class="p1">"Piano Trio No. 2 in E minor," Op. 67</p>
<p class="p1" style="padding-left: 40px;">I. Andante, Moderato</p>
<p class="p1" style="padding-left: 40px;">II. Allegro con brio</p>
<p class="p1" style="padding-left: 40px;">III. Largo</p>
<p class="p1" style="padding-left: 40px;">IV. Allegretto, Adagio</p>
<p class="p1" style="text-align: justify;">Dmitri Shostakovich wrote his Second Piano Trio in 1944 during the Second World War, in a Soviet Union scarred by invasion, mass death, and immense personal and national grief. The work is dedicated to the memory of Ivan Sollertinsky, Shostakovich’s closest friend, a brilliant critic and scholar whose sudden death in February 1944 devastated the composer. Shostakovich had already begun work on the trio before Sollertinsky died, but he completed it afterward, and the finished work stands as one of his deepest memorial statements.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">Sollertinsky was far more than a friend in ordinary social terms. He was one of the most important intellectual presences in Shostakovich’s life, someone who broadened his literary and musical horizons and whose seriousness of mind mattered deeply to him. That private loss sits at the center of the trio, yet the work also belongs unmistakably to wartime. By 1944 Shostakovich had lived through years of terror, official pressure, evacuation, and the war’s appalling violence. This background gives the trio an emotional range that goes beyond personal mourning into something larger, darker, and more public.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">The opening movement begins in one of the most striking ways in chamber music. A muted cello, playing in high harmonics on its highest string, introduces the first idea in an eerie, almost disembodied sound. The violin repeats the line far below, and the piano enters still lower, creating a canon spread across extreme registers. From this sparse beginning the movement gradually gathers force. The music remains haunted even as it becomes more animated, and the unusual spacing of the opening leaves a lasting impression of distance, fragility, and unease.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">The second movement is a fierce scherzo, driving and sharply profiled. Its energy can sound hard, sardonic, and relentless. One contemporary connection is especially striking. Sollertinsky’s sister described the movement as an extraordinarily exact portrait of her brother’s temperament, polemical brilliance, and manner of speech. Whether or not one hears it that way in performance, the movement carries a sense of concentrated force, as though grief has suddenly become kinetic and abrasive.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">The Largo forms the emotional core of the work. It is a passacaglia, built over repeated piano chords that return again and again with grave inevitability. Above them, violin and cello unfold slow lamenting lines, sometimes separately and sometimes in canon. Shostakovich often achieved his strongest effects through restraint, and here the plainness of the repeated harmonic ground gives the movement much of its power. It feels ceremonial, suspended, and unsparing.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">The finale begins with repeated piano notes and a theme often described as Jewish in character. Shostakovich was deeply moved by Jewish music and later spoke of its capacity to contain merriment on the surface while carrying sorrow within. In this movement the dance becomes increasingly bitter and spectral. Fragments from earlier in the trio return, and the work closes in a mood of exhaustion and resignation rather than consolation. The finale has invited many historical interpretations, but what is certain is the presence of mourning, irony, and a dance impulse transformed into something grim and unforgettable.<span class="Apple-converted-space"> </span></p>
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<p class="p1"><strong>Lili Boulanger</strong> (1893-1918)</p>
<p class="p1">"Deux Morceaux pour violon et piano"</p>
<p class="p1" style="padding-left: 40px;">I. Nocturne</p>
<p class="p1" style="padding-left: 40px;">II. Cortège</p>
<p class="p1" style="text-align: justify;">Lili Boulanger was born in Paris into one of France’s most musical families. Her father, Ernest Boulanger, had won the Prix de Rome, and her older sister Nadia would become one of the most influential teachers of the twentieth century. Lili herself was a composer of exceptional gifts, working under the burden of frail health from childhood onward. In 1913 she became the first woman to win the Prix de Rome in composition, with her cantata Faust et Hélène, and her victory quickly made her one of the most closely watched young musicians in France.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">The two pieces for violin and piano come from the years immediately before the First World War. Nocturne dates from 1911. Cortège dates from 1914. The pair was later published together, and the surviving source tradition identifies them clearly as separate works from those two years. Those dates place them in a revealing period of Boulanger’s life. Nocturne belongs to her student years in Paris, when she was developing her technique and preparing for major public recognition. Cortège belongs to the year after her Prix de Rome triumph, when her career was opening outward even as Europe was moving toward war.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">Nocturne is one of Boulanger’s earliest instrumental works to enter the repertory, and it already shows the concentrated refinement of her musical voice. The piece is intimate, lyrical, and carefully shaded, with the violin carrying a long, expressive line over a piano part that supports without ever becoming merely accompanimental. There are clear links to the French world in which she was formed, especially the atmosphere and harmonic delicacy associated with Fauré and Debussy, yet the work does not feel imitative. Its strength lies in its poise, economy, and emotional directness.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">Cortège offers a vivid contrast. Where Nocturne is inward and suspended, Cortège is lighter, brighter, and more mobile. The title suggests a procession, but not a solemn one. Instead, the music has buoyancy and a touch of wit. Boulanger first wrote the piece in 1914, and it later circulated in the violin and piano version heard tonight. Nadia Boulanger also arranged it for violin and chamber orchestra, evidence of the affection and esteem in which the piece was held.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">Because Lili Boulanger died in 1918 at only twenty four, her music is often surrounded by the sadness of what was lost. Yet these pieces are not important because they anticipate some later greatness that never arrived. They are important because they already show a composer with a distinct voice, one able to move easily between introspection and brightness, and one whose command of colour, line, and compressed form was already remarkable. In these miniatures, Boulanger writes with elegance, assurance, and personality.<span class="Apple-converted-space"> </span></p>
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<p class="p1"><strong>Astor Piazzolla</strong> (1921-1992)</p>
<p class="p1">"Cuatro Estaciones Porteñas" (arranged by José Bragato)</p>
<p class="p1" style="padding-left: 40px;">I. Verano Porteño</p>
<p class="p1" style="padding-left: 40px;">II. Otoño Porteño</p>
<p class="p1" style="padding-left: 40px;">III. Invierno Porteño</p>
<p class="p1" style="padding-left: 40px;">IV. Primavera Porteña</p>
<p class="p1" style="text-align: justify;">Astor Piazzolla was born in Argentina and spent part of his childhood in New York, an experience that exposed him early to jazz, popular music, and the pace of urban modern life. He later became the central figure in the transformation of tango during the twentieth century. Rather than preserving tango as a fixed traditional idiom, he expanded it into what became known as nuevo tango, bringing into it the influence of jazz, counterpoint, concert music, and a much freer, more exploratory harmonic language. This shift was controversial in Argentina, where some listeners felt he had taken tango too far from its roots. For Piazzolla, though, renewal was the point.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">A turning point in his life came in Paris in the 1950s, when he studied with Nadia Boulanger. She recognized that his most individual voice lay not in the more conventionally academic music he had brought to show her, but in the tango-inflected style that was truly his own. That encouragement helped confirm his path. From then on, Piazzolla pursued a language in which tango became concert music without losing its physical drive, sensual edge, or connection to the city.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">The Cuatro Estaciones Porteñas were not first conceived as a single four movement suite. They were written as separate pieces between the mid 1960s and 1970 and only later came to be grouped together. “Porteño” refers to Buenos Aires and to those who belong to the city. These are therefore not generalized seasons of nature. They are seasons of Buenos Aires, shaped by the mood, energy, and tension of urban life. Wise Music identifies Las Cuatro Estaciones Porteñas in the Bragato version as a 1970 work for piano and strings, reflecting the later gathered form in which the pieces came to circulate.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">The first of the four, Verano Porteño, dates from 1965. The other season pieces followed over the next several years. In their original form they were associated with Piazzolla’s performing world of violin, piano, electric guitar, double bass, and bandoneón. This was music rooted in tango rhythm and gesture, but it was also full of sudden contrast, fugue-like writing, lyrical solos, sharp accents, and an almost theatrical command of pacing. Piazzolla’s Buenos Aires is not pastoral. It is restless, nocturnal, sensual, and at times hard-edged.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">Tonight’s arrangement is by José Bragato, the Italian-born Argentine cellist, composer, arranger, and longtime Piazzolla collaborator. Bragato worked closely with Piazzolla and played an important part in bringing nuevo tango into chamber and concert settings. His arrangement allows the music to speak naturally through violin, cello, and piano while preserving the rhythmic tension and melodic flexibility of Piazzolla’s language. Because Bragato knew this style from the inside, his versions are more than practical transcriptions. They are part of the history of the music itself.<span class="Apple-converted-space">  </span></p>
<p class="p1" style="text-align: justify;">Across the four movements, listeners encounter a city rather than a landscape. Verano is heated and urgent. Otoño often feels more shadowed and reflective. Invierno brings some of Piazzolla’s most exposed and haunting lyric writing. Primavera has brightness, attack, and nervous energy rather than pastoral ease. Taken together, the Four Seasons of Buenos Aires stand as one of Piazzolla’s clearest demonstrations that tango could carry complexity, sophistication, and emotional depth in the concert hall while remaining unmistakably itself.</p>
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<h3><strong>Charlotte Thiele, Bryan Cheng et Silvie Cheng : </strong><strong>« </strong><strong>Héritage »</strong></h3>
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				SAMEDI 11 AVRIL 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 style="text-align: justify;">Ce programme réunit la violoniste allemande Charlotte Thiele, notre musicienne en résidence 2025/26, le violoncelliste Bryan Cheng et la pianiste Silvie Cheng pour une performance qui mêle harmonieusement émotion, intensité et virtuosité. Le programme comprend la « Sérénade espagnole » et le « Chant du ménestrel » d'Alexander Glazounov, des œuvres qui apportent chaleur et beauté lyrique sur scène, ainsi que le « Trio pour piano n° 2 en mi mineur » de Dmitri Chostakovitch, une œuvre qui a fait ses preuves. 2 en mi mineur » de Dimitri Chostakovitch, une pièce riche en contrastes dramatiques. Le trio interprète également les évocateurs « 2 Morceaux pour violon et piano » de Lili Boulanger, ainsi que « Cuatro Estaciones Porteñas » d'Astor Piazzolla, une représentation vivante des quatre saisons de Buenos Aires, qui met en évidence la maîtrise du trio dans les styles classique et contemporain. Avec chaque œuvre, Thiele et les Chengs proposent un voyage musical dynamique aux multiples facettes. Ensemble, ces musiciens de renommée internationale apportent un sens profond de la collaboration et de l'art, ayant joué dans d'innombrables salles prestigieuses dans le monde entier. Ils ont également partagé leurs talents avec des orchestres renommés, apportant leur expertise en matière de musique de chambre à des ensembles plus importants à travers le monde. Présenté avec le soutien généreux de Lang Optometry and Eyewear, partenaire de la résidence des musiciens. Présenté avec le généreux soutien de<span class="gmail-Apple-converted-space"> </span><a href="https://www.langoptometry.com/" target="_blank" rel="noopener">Lang Optometry and Eyewear</a>, partenaire de la résidence des musiciens. 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>
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				</strong><strong>ARTISTES </strong>: Bryan Cheng, violoncelle ; Charlotte Thiele, violon ; Silvie Cheng, piano</h5>
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				SÉRIE DE CONCERTS SUR LA SCÈNE PRINCIPALE</strong></h5>
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<h4>À propos du programme</h4>
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<p class="p1"><strong>Alexander Glazounov</strong> (1865 à 1936)</p>
<p class="p1">« Sérénade espagnole », op. 20, no 2</p>
<p class="p1">« Chant du ménestrel », op. 71</p>
<p class="p1" style="text-align: justify;">Alexander Glazounov est né à Saint-Pétersbourg et s’est imposé avec une rapidité peu commune comme l’une des grandes figures de la musique russe. Il a étudié avec Nikolaï Rimski-Korsakov, et le début de sa carrière a été fortement soutenu par l’éditeur et mécène Mitrofan Belaïev, dont le cercle a contribué à façonner la vie musicale de la Russie impériale tardive. Glazounov appartenait à la génération qui a suivi Balakirev et « Les Cinq », et sa musique réunit souvent le lyrisme russe, une riche couleur orchestrale et une solide maîtrise de l’équilibre formel. En 1899, il entre au corps professoral du Conservatoire de Saint-Pétersbourg, puis en devient le directeur en 1905, un poste qui fait de lui l’un des principaux administrateurs musicaux de Russie, en plus de l’un de ses compositeurs les plus admirés.</p>
<p class="p1" style="text-align: justify;">« Sérénade espagnole » est la deuxième des « Deux morceaux pour violoncelle avec accompagnement d’orchestre », op. 20, composés en 1888. L’ensemble a été écrit pour violoncelle et orchestre et dédié au grand violoncelliste Aleksandr Verjbilovitch, l’un des plus remarquables instrumentistes russes de son époque. Dans ces années-là, Glazounov n’avait qu’un peu plus de vingt ans et se faisait déjà un nom comme l’un des jeunes compositeurs les plus prometteurs de Saint-Pétersbourg. L’œuvre s’inscrit dans un engouement plus large de la fin du dix-neuvième siècle pour la couleur espagnole, que l’on retrouve dans la musique de plusieurs pays d’Europe. Pour Glazounov, l’Espagne n’était pas une source de transcription fidèle du folklore, mais plutôt un paysage imaginé, vif et séduisant, qui lui offrait rythme de danse, élégance et éclat exotique.</p>
<p class="p1" style="text-align: justify;">Ce qui rend « Sérénade espagnole » mémorable, c’est la manière dont Glazounov transforme une brève pièce de concert en une scène pleine d’atmosphère. L’écriture est alerte, chantante et raffinée. La ligne du violoncelle chante presque sans arrêt, et l’accompagnement lui donne un élan rythmique souple et gracieux. Même dans une œuvre de petite dimension, les dons de Glazounov apparaissent clairement. Il savait écrire avec naturel pour les cordes, façonner une mélodie pour qu’elle tombe bien sous les doigts, et suggérer un lieu et une ambiance sans forcer le trait. Le résultat est moins un portrait de l’Espagne qu’une fantaisie romantique russe sur l’Espagne, écrite avec charme et assurance au début d’une grande carrière.</p>
<p class="p1" style="text-align: justify;">« Chant du ménestrel », op. 71, appartient à une période plus tardive de Glazounov. L’œuvre a été publiée pour la première fois en 1901, elle aussi avec une dédicace à Aleksandr Verjbilovitch. À ce moment-là, Glazounov était devenu une véritable autorité musicale, non plus simplement le prodige doué du cercle Belaïev, mais un compositeur et pédagogue accompli occupant une place importante dans la vie culturelle russe. Le titre, « Chant du ménestrel », situe l’œuvre dans un monde plus intérieur et plus poétique que l’éclat stylisé de « Sérénade espagnole ».</p>
<p class="p1" style="text-align: justify;">Dans cette courte pièce, le violoncelle est traité avant tout comme une voix chantante. L’œuvre se déploie comme un monologue lyrique, intime par l’échelle, mais noble dans l’expression. Le « ménestrel » du titre évoque un ancien conteur ou un barde, et Glazounov répond par une musique réfléchie, vocale et légèrement nostalgique. C’est l’une de ces œuvres brèves qui sont restées au répertoire parce qu’elles disent quelque chose de direct et de durable en seulement quelques minutes. Il n’y a ici aucun besoin de virtuosité pour elle-même. Glazounov offre plutôt au soliste une ligne d’une noble simplicité et laisse l’instrument parler avec chaleur et retenue.</p>
<p>&nbsp;</p>
<p class="p1"><strong>Dmitri Chostakovitch</strong> (1906 à 1975)</p>
<p class="p1">« Trio pour piano no 2 en mi mineur », op. 67</p>
<p class="p1" style="padding-left: 40px;">I. « Andante, Moderato »</p>
<p class="p1" style="padding-left: 40px;">II. « Allegro con brio »</p>
<p class="p1" style="padding-left: 40px;">III. « Largo »</p>
<p class="p1" style="padding-left: 40px;">IV. « Allegretto, Adagio »</p>
<p class="p1" style="text-align: justify;">Dmitri Chostakovitch a composé son « Trio pour piano no 2 » en 1944, pendant la Seconde Guerre mondiale, dans une Union soviétique marquée par l’invasion, les pertes massives et un deuil national et personnel immense. L’œuvre est dédiée à la mémoire d’Ivan Sollertinski, l’ami le plus proche du compositeur, critique et érudit brillant dont la mort soudaine, en février 1944, a profondément bouleversé Chostakovitch. Le compositeur avait déjà commencé à travailler au trio avant le décès de Sollertinski, mais il l’a achevé par la suite, et l’œuvre terminée demeure l’un de ses plus profonds hommages funèbres.</p>
<p class="p1" style="text-align: justify;">Sollertinski était bien plus qu’un ami au sens ordinaire du terme. Il fut l’une des présences intellectuelles les plus importantes dans la vie de Chostakovitch, quelqu’un qui a élargi ses horizons littéraires et musicaux, et dont la rigueur d’esprit comptait énormément pour lui. Cette perte intime se trouve au cœur du trio, mais l’œuvre appartient aussi de façon évidente au temps de guerre. En 1944, Chostakovitch avait déjà traversé des années de terreur, de pressions officielles, d’évacuation et de violence effroyable liée à la guerre. Ce contexte donne au trio une portée émotionnelle qui dépasse le deuil personnel pour toucher quelque chose de plus vaste, plus sombre et plus public.</p>
<p class="p1" style="text-align: justify;">Le premier mouvement commence d’une façon parmi les plus saisissantes de toute la musique de chambre. Un violoncelle avec sourdine, jouant en harmoniques aiguës sur sa corde la plus haute, présente la première idée dans une sonorité étrange, presque désincarnée. Le violon reprend la ligne beaucoup plus bas, puis le piano entre encore plus grave, créant un canon réparti sur des registres extrêmes. À partir de ce début dépouillé, le mouvement gagne peu à peu en intensité. La musique demeure hantée même lorsqu’elle devient plus animée, et l’espacement inhabituel du début laisse une impression durable de distance, de fragilité et de malaise.</p>
<p class="p1" style="text-align: justify;">Le deuxième mouvement est un scherzo féroce, tendu et nettement profilé. Son énergie peut paraître dure, sarcastique et implacable. Un témoignage contemporain est particulièrement frappant. La sœur de Sollertinski a décrit ce mouvement comme un portrait d’une exactitude extraordinaire du tempérament de son frère, de son brio polémique et de sa manière de parler. Qu’on l’entende ainsi ou non en concert, le mouvement dégage une impression de force concentrée, comme si le deuil se transformait soudain en mouvement nerveux et abrasif.</p>
<p class="p1" style="text-align: justify;">Le « Largo » constitue le noyau émotionnel de l’œuvre. Il s’agit d’une passacaille, construite sur des accords répétés au piano qui reviennent encore et encore avec une gravité inévitable. Au-dessus, le violon et le violoncelle déploient de lentes lignes de lamentation, parfois séparément, parfois en canon. Chostakovitch obtenait souvent ses effets les plus puissants par la retenue, et ici, la sobriété du fond harmonique répété donne au mouvement une grande part de sa force. Tout y semble cérémoniel, suspendu et sans concession.</p>
<p class="p1" style="text-align: justify;">Le finale commence avec des notes répétées au piano et un thème souvent décrit comme ayant un caractère juif. Chostakovitch était profondément touché par la musique juive et a plus tard parlé de sa capacité à porter une gaieté en surface tout en contenant la douleur à l’intérieur. Dans ce mouvement, la danse devient de plus en plus amère et spectrale. Des fragments entendus plus tôt dans le trio réapparaissent, et l’œuvre se termine dans un climat d’épuisement et de résignation plutôt que de consolation. Ce finale a suscité bien des interprétations historiques, mais ce qui est certain, c’est la présence du deuil, de l’ironie et d’un élan de danse transformé en quelque chose de sombre et d’inoubliable.</p>
<p>&nbsp;</p>
<p class="p1"><strong>Lili Boulanger</strong> (1893 à 1918)</p>
<p class="p1">« 2 Morceaux pour violon et piano »</p>
<p class="p1" style="padding-left: 40px;">I. « Nocturne »</p>
<p class="p1" style="padding-left: 40px;">II. « Cortège »</p>
<p class="p1" style="text-align: justify;">Lili Boulanger est née à Paris dans l’une des familles les plus musicales de France. Son père, Ernest Boulanger, avait remporté le Prix de Rome, et sa sœur aînée Nadia allait devenir l’une des pédagogues les plus influentes du vingtième siècle. Lili elle-même était une compositrice d’un talent exceptionnel, travaillant depuis l’enfance sous le poids d’une santé fragile. En 1913, elle devient la première femme à remporter le Prix de Rome en composition, avec sa cantate « Faust et Hélène », et cette victoire la fait rapidement connaître comme l’une des jeunes musiciennes les plus remarquées de France.</p>
<p class="p1" style="text-align: justify;">Les deux pièces pour violon et piano datent des années qui précèdent immédiatement la Première Guerre mondiale. « Nocturne » date de 1911. « Cortège » date de 1914. Les deux ont ensuite été publiées ensemble, et la tradition des sources conservées les identifie clairement comme deux œuvres distinctes de ces années-là. Ces dates les situent dans une période révélatrice de la vie de Boulanger. « Nocturne » appartient à ses années d’étude à Paris, alors qu’elle développe sa technique et se prépare à une reconnaissance publique importante. « Cortège », lui, appartient à l’année qui suit son triomphe au Prix de Rome, au moment où sa carrière s’ouvre davantage, alors même que l’Europe se dirige vers la guerre.</p>
<p class="p1" style="text-align: justify;">« Nocturne » est l’une des premières œuvres instrumentales de Boulanger à être entrée au répertoire, et elle montre déjà le raffinement concentré de sa voix musicale. La pièce est intime, lyrique et subtilement nuancée, le violon portant une longue ligne expressive au-dessus d’un piano qui soutient sans jamais devenir un simple accompagnement. On y perçoit des liens évidents avec le monde français dans lequel elle a été formée, surtout l’atmosphère et la délicatesse harmonique associées à Fauré et Debussy, mais l’œuvre ne donne jamais l’impression d’imiter. Sa force repose sur son équilibre, son économie de moyens et sa franchise expressive.</p>
<p class="p1" style="text-align: justify;">« Cortège » offre un contraste marqué. Là où « Nocturne » est intériorisé et suspendu, « Cortège » est plus léger, plus lumineux et plus mobile. Le titre évoque une procession, mais non pas une procession solennelle. La musique a plutôt de l’élan et même une touche d’esprit. Boulanger a d’abord écrit la pièce en 1914, et elle a ensuite circulé dans la version pour violon et piano entendue ce soir. Nadia Boulanger en a aussi réalisé un arrangement pour violon et orchestre de chambre, preuve de l’affection et de l’estime que cette pièce inspirait.</p>
<p class="p1" style="text-align: justify;">Comme Lili Boulanger est morte en 1918 à seulement vingt-quatre ans, sa musique est souvent entourée de la tristesse de ce qui a été perdu. Pourtant, ces pièces ne sont pas importantes parce qu’elles annonceraient une grandeur future qui n’a jamais eu le temps d’arriver. Elles sont importantes parce qu’elles montrent déjà une compositrice dotée d’une voix distincte, capable de passer avec naturel de l’introspection à la lumière, et dont la maîtrise de la couleur, de la ligne et de la forme brève était déjà remarquable. Dans ces miniatures, Boulanger écrit avec élégance, assurance et personnalité.</p>
<p>&nbsp;</p>
<p class="p1"><strong>Astor Piazzolla</strong> (1921 à 1992)</p>
<p class="p1">« Cuatro Estaciones Porteñas » arrangées par José Bragato</p>
<p class="p1" style="padding-left: 40px;">I. « Verano Porteño »</p>
<p class="p1" style="padding-left: 40px;">II. « Otoño Porteño »</p>
<p class="p1" style="padding-left: 40px;">III. « Invierno Porteño »</p>
<p class="p1" style="padding-left: 40px;">IV. « Primavera Porteña »</p>
<p class="p1" style="text-align: justify;">Astor Piazzolla est né en Argentine et a passé une partie de son enfance à New York, une expérience qui l’a très tôt exposé au jazz, à la musique populaire et au rythme de la vie urbaine moderne. Il est devenu par la suite la figure centrale de la transformation du tango au vingtième siècle. Plutôt que de préserver le tango comme un idiome traditionnel figé, il l’a élargi pour créer ce qu’on a appelé le nuevo tango, en y intégrant l’influence du jazz, du contrepoint, de la musique de concert et d’un langage harmonique beaucoup plus libre et exploratoire. Ce changement a été controversé en Argentine, où certains auditeurs estimaient qu’il avait éloigné le tango de ses racines. Pour Piazzolla, pourtant, le renouvellement était essentiel.</p>
<p class="p1" style="text-align: justify;">Un tournant dans sa vie survient à Paris dans les années 1950, lorsqu’il étudie avec Nadia Boulanger. Elle reconnaît que sa voix la plus personnelle ne se trouve pas dans la musique plus académiquement traditionnelle qu’il lui avait apportée, mais dans le style marqué par le tango qui lui appartenait vraiment. Cet encouragement l’a aidé à confirmer sa voie. À partir de là, Piazzolla a poursuivi un langage dans lequel le tango devenait musique de concert sans perdre son élan physique, sa sensualité ni son lien avec la ville.</p>
<p class="p1" style="text-align: justify;">Les « Cuatro Estaciones Porteñas » n’ont pas d’abord été conçues comme une seule suite en quatre mouvements. Elles ont été écrites comme des pièces séparées entre le milieu des années 1960 et 1970, et ce n’est que plus tard qu’elles ont été réunies en un ensemble. Le mot « porteño » renvoie à Buenos Aires et à celles et ceux qui appartiennent à la ville. Il ne s’agit donc pas ici de saisons généralisées de la nature. Ce sont les saisons de Buenos Aires, façonnées par l’atmosphère, l’énergie et les tensions de la vie urbaine. Wise Music identifie « Las Cuatro Estaciones Porteñas » dans la version de Bragato comme une œuvre de 1970 pour piano et cordes, ce qui reflète la forme rassemblée sous laquelle ces pièces ont ensuite circulé.</p>
<p class="p1" style="text-align: justify;">La première des quatre, « Verano Porteño », date de 1965. Les autres saisons ont suivi au cours des années suivantes. Dans leur forme originale, elles appartenaient à l’univers d’interprétation de Piazzolla, avec violon, piano, guitare électrique, contrebasse et bandonéon. Cette musique est ancrée dans le rythme et les gestes du tango, mais elle est aussi pleine de contrastes soudains, d’écriture proche de la fugue, de solos lyriques, d’accents incisifs et d’un sens presque théâtral de la progression. Le Buenos Aires de Piazzolla n’a rien de pastoral. Il est agité, nocturne, sensuel et parfois rugueux.</p>
<p class="p1" style="text-align: justify;">L’arrangement entendu ce soir est de José Bragato, violoncelliste, compositeur, arrangeur italo-argentin et proche collaborateur de Piazzolla. Bragato a travaillé étroitement avec lui et a joué un rôle important dans l’entrée du nuevo tango dans les contextes de musique de chambre et de concert. Son arrangement permet à cette musique de parler avec naturel à travers le violon, le violoncelle et le piano, tout en préservant la tension rythmique et la souplesse mélodique du langage de Piazzolla. Comme Bragato connaissait ce style de l’intérieur, ses versions sont plus que de simples transcriptions pratiques. Elles font partie de l’histoire même de cette musique.</p>
<p class="p1" style="text-align: justify;">À travers les quatre mouvements, l’auditeur rencontre une ville plutôt qu’un paysage. « Verano » est chauffé à blanc et urgent. « Otoño » paraît souvent plus ombragé et plus réfléchi. « Invierno » offre certaines des lignes les plus exposées et les plus poignantes de Piazzolla. « Primavera » a de l’éclat, de l’attaque et une énergie nerveuse plutôt qu’une douceur pastorale. Ensemble, les « Quatre Saisons de Buenos Aires » montrent avec une grande clarté que le tango pouvait porter complexité, raffinement et profondeur expressive dans la salle de concert tout en demeurant pleinement lui-même.</p>
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</div></div></div></div><div id="pgc-w69d433353d0b4-16-2"  class="panel-grid-cell panel-grid-cell-empty" ></div></div><div id="pg-w69d433353d0b4-17"  class="panel-grid panel-no-style" ><div id="pgc-w69d433353d0b4-17-0"  class="panel-grid-cell panel-grid-cell-empty" ></div><div id="pgc-w69d433353d0b4-17-1"  class="panel-grid-cell panel-grid-cell-mobile-last" ><div id="panel-w69d433353d0b4-17-1-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="43" ><div class="kt-pb-animation kt-pb-fadeIn kt-pb-duration-600 kt-pb-delay-300 panel-widget-style panel-widget-style-for-w69d433353d0b4-17-1-0" ><div class="textwidget"><p style="text-align: center;"><img class="alignnone wp-image-40158 size-full" src="https://www.ceciliaconcerts.ca/wp-content/uploads/2026/04/Cecilia-Concerts-Partner-Logos.png" alt="" width="1868" height="750" /></p>
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</div></div></div></div><div id="pgc-w69d433353d0b4-17-2"  class="panel-grid-cell panel-grid-cell-empty" ></div></div><div id="pg-w69d433353d0b4-18"  class="panel-grid panel-no-style" ><div id="pgc-w69d433353d0b4-18-0"  class="panel-grid-cell panel-grid-cell-empty" ></div><div id="pgc-w69d433353d0b4-18-1"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-18-1-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="44" ><div class="textwidget"><p style="text-align: center;"><a href="https://www.canada.ca/home.html" target="_blank" rel="noopener"><img class="wp-image-5403 size-full aligncenter" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Canadian Heritage | Canada Arts Presentation Fund" src="https://ceciliaconcerts.ca/test/newstaging/wp-content/uploads/2015/05/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Canadian-Herirage-Canada-Arts-Presentation-Fund.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Canadian Heritage | Canada Arts Presentation Fund" width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-18-2"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-18-2-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="45" ><div class="textwidget"><p style="text-align: center;"><a href="https://canadacouncil.ca/" target="_blank" rel="noopener"><img class="wp-image-23600 size-full aligncenter" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Canada Council for the Arts" src="https://ceciliaconcerts.ca/wp-content/uploads/2021/09/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Canada-Council-For-The-Arts.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Canada Council for the Arts" width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-18-3"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-18-3-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="46" ><div class="textwidget"><p style="text-align: center;"><a href="https://artsns.ca/" target="_blank" rel="noopener"><img class="aligncenter wp-image-6499 size-full" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Arts Nova Scotia" src="https://ceciliaconcerts.ca/test/newstaging/wp-content/uploads/2015/05/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Arts-Nova-Scotia-1.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Arts Nova Scotia" width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-18-4"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-18-4-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="47" ><div class="textwidget"><p style="text-align: center;"><a href="https://cch.novascotia.ca/" target="_blank" rel="noopener noreferrer"><img class="aligncenter wp-image-9369 size-full" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Nova Scotia Department of Communities, Culture &amp; Heritage" src="https://ceciliaconcerts.ca/test/newstaging/wp-content/uploads/2017/03/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Nova-Scotia.png" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Nova Scotia Department of Communities, Culture &amp; Heritage" width="230" height="140" /></a></p>
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</div></div></div><div id="pgc-w69d433353d0b4-18-6"  class="panel-grid-cell panel-grid-cell-mobile-last" ><div id="panel-w69d433353d0b4-18-6-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="49" ><div class="textwidget"><p style="text-align: center;"><a href="http://www.region.halifax.ns.ca/home/" target="_blank" rel="noopener noreferrer"><img class="aligncenter wp-image-5557 size-full" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Halifax" src="https://ceciliaconcerts.ca/test/newstaging/wp-content/uploads/2015/05/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Halifax.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Halifax" width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-18-7"  class="panel-grid-cell panel-grid-cell-empty" ></div></div><div id="pg-w69d433353d0b4-19"  class="panel-grid panel-no-style" ><div id="pgc-w69d433353d0b4-19-0"  class="panel-grid-cell panel-grid-cell-empty" ></div><div id="pgc-w69d433353d0b4-19-1"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-19-1-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="50" ><div class="textwidget"><p style="text-align: center;"><a href="https://www.afhalifax.ca/" target="_blank" rel="noopener"><img class="aligncenter wp-image-37161 size-full" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Alliance Française" src="https://ceciliaconcerts.ca/wp-content/uploads/2025/06/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Alliance-Francaise-Halifax.jpg" alt="A red lowercase “af” in a stylized serif font appears above the text “AllianceFrançaise,” with “Alliance” in black and “Française” in grey." width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-19-2"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-19-2-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="51" ><div class="textwidget"><p style="text-align: center;"><a href="https://www.alc.ca/content/alc/en/corporate/giving-back/sponsorships.html?utm_source=Sponosored_Event&amp;utm_medium=Display&amp;utm_campaign=Sponsorship_FY25" target="_blank" rel="noopener"><img class="aligncenter wp-image-37899" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Atlantic Lottery" src="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/10/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Atlantic-Lottery.jpg" alt="Atlantic Lottery logo featuring a stylized red circle with a white sailboat, green wave, and blue wave elements, with the words “Atlantic Lottery” in light blue text to the right." width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-19-3"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-19-3-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="52" ><div class="textwidget"><p style="text-align: center;"><a href="https://www.atlanticpresenters.ca/" target="_blank" rel="noopener"><img class="wp-image-23602 size-full aligncenter" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Atlantic Presenters Association" src="https://ceciliaconcerts.ca/wp-content/uploads/2021/09/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Atlantic-Presenters-Association.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Atlantic Presenters Association" width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-19-4"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-19-4-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="53" ><div class="textwidget"><p style="text-align: center;"><a href="https://canadianlivemusic.ca/" target="_blank" rel="noopener"><img class="wp-image-23492 size-full aligncenter" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Canadian Live Music Association" src="https://ceciliaconcerts.ca/test/newstaging/wp-content/uploads/2021/04/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Canadian-Live-Music-Association.png" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Canadian Live Music Association" width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-19-5"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-19-5-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="54" ><div class="textwidget"><p style="text-align: center;"><a href="https://capacoa.ca/en/" target="_blank" rel="noopener"><img class="wp-image-23493 size-full aligncenter" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | CAPACOA" src="https://ceciliaconcerts.ca/test/newstaging/wp-content/uploads/2021/04/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-CAPACOA-Canadian-Arts-Presenting-Association.png" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | CAPACOA" width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-19-6"  class="panel-grid-cell panel-grid-cell-mobile-last" ><div id="panel-w69d433353d0b4-19-6-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="55" ><div class="textwidget"><p style="text-align: center;"><img class="aligncenter wp-image-24224 size-full" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | The Craig Foundation" src="https://www.ceciliaconcerts.ca/wp-content/uploads/2021/10/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Nova-Scota-Craig-Foundation.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | The Craig Foundation" width="230" height="140" /></p>
</div></div></div><div id="pgc-w69d433353d0b4-19-7"  class="panel-grid-cell panel-grid-cell-empty" ></div></div><div id="pg-w69d433353d0b4-20"  class="panel-grid panel-no-style" ><div id="pgc-w69d433353d0b4-20-0"  class="panel-grid-cell panel-grid-cell-empty" ></div><div id="pgc-w69d433353d0b4-20-1"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-20-1-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="56" ><div class="textwidget"><p style="text-align: center;"><a href="https://www.dal.ca/faculty/arts/school-of-performing-arts.html" target="_blank" rel="noopener"><img class="aligncenter wp-image-37493" title="A black eagle crest outlined in yellow beside the words “Dalhousie University” in bold black text, with “Fountain School of Performing Arts” in smaller black text below." src="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Dalhousie-University-Fountain-School-of-Performing-Arts.jpg" alt="A black eagle crest outlined in yellow beside the words “Dalhousie University” in bold black text, with “Fountain School of Performing Arts” in smaller black text below." width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-20-2"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-20-2-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="57" ><div class="textwidget"><p style="text-align: center;"><a href="http://www.isans.ca/" target="_blank" rel="noopener noreferrer"></a><a href="http://www.halifaxpubliclibraries.ca/" target="_blank" rel="noopener noreferrer"><img class="aligncenter wp-image-9854 size-full" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Halifax Public Libraries" src="https://ceciliaconcerts.ca/test/newstaging/wp-content/uploads/2017/03/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Halifax-Public-Libraries.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Halifax Public Libraries" width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-20-3"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-20-3-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="58" ><div class="textwidget"><p style="text-align: center;"><a href="https://ipaa.ca/" target="_blank" rel="noopener"><img class="aligncenter wp-image-24547 size-full" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | IPAA - Indigenous Performing Arts Alliance" src="https://ceciliaconcerts.ca/wp-content/uploads/2021/11/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Indigenous-Performing-Arts-Alliance.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | IPAA - Indigenous Performing Arts Alliance" width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-20-4"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-20-4-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="59" ><div class="textwidget"><p style="text-align: center;"><a href="https://jwmf.smapply.ca" target="_blank" rel="noopener"><img class="aligncenter wp-image-38005" title="Logo of the J &amp; W Murphy Foundation. The text “J &amp; W Murphy” appears in a dark blue serif font, with the word “FOUNDATION” displayed in all capital letters inside a solid blue rectangle beneath it." src="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/10/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-JW-Murphy-Foundation.jpg" alt="Logo of the J &amp; W Murphy Foundation. The text “J &amp; W Murphy” appears in a dark blue serif font, with the word “FOUNDATION” displayed in all capital letters inside a solid blue rectangle beneath it." width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-20-5"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-20-5-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="60" ><div class="textwidget"><p style="text-align: center;"><a href="http://maritimeconservatory.com" target="_blank" rel="noopener"><img class="aligncenter wp-image-37495" title="The word “conservatory” in bold black lowercase letters, with “Maritime” in gray uppercase letters above. A swirl of green, pink, and blue lines form an abstract design above the text." src="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Maritime-Conservatory.jpg" alt="The word “conservatory” in bold black lowercase letters, with “Maritime” in gray uppercase letters above. A swirl of green, pink, and blue lines form an abstract design above the text." width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-20-6"  class="panel-grid-cell panel-grid-cell-mobile-last" ><div id="panel-w69d433353d0b4-20-6-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="61" ><div class="textwidget"><p style="text-align: center;"><a href="http://harrisonmccainfoundation.com" target="_blank" rel="noopener"><img class="wp-image-37494 aligncenter" title="The name “Harrison McCain” in navy blue text above the word “Foundation” in gold." src="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Harrison-McCain-Foundation.jpg" alt="The name “Harrison McCain” in navy blue text above the word “Foundation” in gold." width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-20-7"  class="panel-grid-cell panel-grid-cell-empty" ></div></div><div id="pg-w69d433353d0b4-21"  class="panel-grid panel-no-style" ><div id="pgc-w69d433353d0b4-21-0"  class="panel-grid-cell panel-grid-cell-empty" ></div><div id="pgc-w69d433353d0b4-21-1"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-21-1-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="62" ><div class="textwidget"><p style="text-align: center;"><a href="https://www.mcinnescooper.com" target="_blank" rel="noopener"><img class="aligncenter wp-image-40133" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | McInnes Cooper" src="https://www.ceciliaconcerts.ca/wp-content/uploads/2026/04/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-McInnes-Cooper-1.jpg" alt="McInnes Cooper logo in black and red text on a light grey background." width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-21-2"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-21-2-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="63" ><div class="textwidget"><p style="text-align: center;"><a href="https://www.mentalhealthns.ca/" target="_blank" rel="noopener"><img class="aligncenter wp-image-26075 size-full" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Mental Health Foundation of Nova Scotia" src="https://ceciliaconcerts.ca/wp-content/uploads/2022/04/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Mental-Health-Foundation-of-Nova-Scota.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Mental Health Foundation of Nova Scotia" width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-21-3"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-21-3-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="64" ><div class="textwidget"><p style="text-align: center;"><a href="http://musicnovascotia.ca/" target="_blank" rel="attachment wp-att-5400 noopener"><img class="aligncenter wp-image-5405 size-full" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Music Nova Scotia" src="https://ceciliaconcerts.ca/test/newstaging/wp-content/uploads/2015/05/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Music-Nova-Scota.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Music Nova Scotia" width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-21-4"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-21-4-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="65" ><div class="textwidget"><p style="text-align: center;"><a href="https://saintandrewshfx.ca" target="_blank" rel="noopener"><img class="aligncenter wp-image-37499" title="A gray abstract arch graphic to the left of the words “Saint Andrew’s” in gray serif font, with the tagline “Community. Justice. Spirit.” in uppercase gray text below." src="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-St-Andrews-United-Church-1.jpg" alt="A gray abstract arch graphic to the left of the words “Saint Andrew’s” in gray serif font, with the tagline “Community. Justice. Spirit.” in uppercase gray text below." width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-21-5"  class="panel-grid-cell" ><div id="panel-w69d433353d0b4-21-5-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="66" ><div class="textwidget"><p style="text-align: center;"><a href="https://www.unityforautism.ca" target="_blank" rel="noopener"><img class="aligncenter wp-image-38707" title="Unity for Autism Foundation logo featuring the words “Unity for Autism” in black serif lettering with light blue shadowing. A horizontal line separates the two lines of text. To the right, four light blue silhouettes stand together, showing two adults and two children." src="http://www.ceciliaconcerts.ca/wp-content/uploads/2025/11/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Unity-for-Autism-Foundation-1.jpg" alt="Unity for Autism Foundation logo featuring the words “Unity for Autism” in black serif lettering with light blue shadowing. A horizontal line separates the two lines of text. To the right, four light blue silhouettes stand together, showing two adults and two children." width="230" height="140" /></a></p>
</div></div></div><div id="pgc-w69d433353d0b4-21-6"  class="panel-grid-cell panel-grid-cell-mobile-last" ><div id="panel-w69d433353d0b4-21-6-0" class="so-panel widget widget_black-studio-tinymce widget_black_studio_tinymce panel-first-child panel-last-child" data-index="67" ><div class="textwidget"><p style="text-align: center;"><a href="http://www.womenformusic.com/" target="_blank" rel="noopener"><img class="aligncenter wp-image-6420 size-full" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Women For Music" src="https://ceciliaconcerts.ca/test/newstaging/wp-content/uploads/2015/05/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Radio-Halifax-Metro-Women-In-Music-1.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Women For Music" width="230" height="140" /></a></p>
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        <script type="application/ld+json">{"@context":"https://schema.org/","@type":"Product","@id":"https://www.ceciliaconcerts.ca/concert/charlotte-thiele-bryan-cheng-silvie-cheng/#product","name":"Charlotte Thiele, Bryan Cheng, &amp;amp; Silvie Cheng: Legacy","url":"https://www.ceciliaconcerts.ca/concert/charlotte-thiele-bryan-cheng-silvie-cheng/","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\tCharlotte Thiele, Bryan Cheng, &amp;amp; Silvie Cheng: Legacy 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\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 10% off tickets to this concert when you book a subscription package \u2013 More Details / \u00c9conomisez 10 % sur les billets de ce concert en r\u00e9servant un forfait d\u2019abonnement - Plus de d\u00e9tails\nABOUT-EN\nPROGRAM-EN\n\u00c0 PROPOS-FR\nPROGRAMME-FR \nCharlotte Thiele, Bryan Cheng, &amp;amp; Silvie Cheng: Legacy\n\n\n\t\t\t\n\t\t\t\tSATURDAY, APRIL 11, 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\nThis program brings together German violinist Charlotte Thiele, our 2025/26 Musician-in-Residence cellist Bryan Cheng, and pianist Silvie Cheng for a performance that seamlessly blends emotion, intensity, and virtuosity. The program features Alexander Glazunov\u2019s \"S\u00e9r\u00e9nade espagnole\" and \"Chant du m\u00e9nestrel\", works that bring warmth and lyrical beauty to the stage, as well as Dmitri Shostakovich\u2019s \"Piano Trio no. 2 in E minor\", a piece rich with dramatic contrast. The trio also performs Lili Boulanger\u2019s evocative \"2 Morceaux pour violon et piano\", alongside Astor Piazzolla\u2019s \"Cuatro Estaciones Porte\u00f1as,\" a vivid portrayal of the four seasons in Buenos Aires, showcasing the trio\u2019s mastery of both classical and contemporary styles. With each work, Thiele and the Chengs offer a dynamic, multifaceted musical journey. Together, these internationally acclaimed musicians bring a deep sense of collaboration and artistry, having performed at countless prestigious venues worldwide. They have also shared their talents with renowned orchestras, bringing their chamber music expertise to larger ensembles across the globe. Presented with the generous support of Musician-in-Residence Presenting Partner \u2013 Lang Optometry and Eyewear. Season Sponsor: Nice Moves / Red Door Realty.\n\n\n\t\t\t\n\t\t\t\tARTISTS: Bryan Cheng, cello; Charlotte Thiele, violin; Silvie Cheng, piano\n\t\t\t\n\t\t\t\tMAIN STAGE CONCERTS SERIES\n\n\nAbout the Program\n&amp;nbsp;\nAlexander Glazunov (1865-1936)\n\"S\u00e9r\u00e9nade espagnole,\" Op. 20, No. 2\n\"Chant du m\u00e9nestrel,\" Op. 71\nAlexander Glazunov was born in St. Petersburg and emerged with unusual speed as one of the leading figures of Russian music. He studied with Nikolai Rimsky Korsakov, and his early career was strongly supported by the publisher and patron Mitrofan Belyayev, whose circle helped shape musical life in late imperial Russia. Glazunov belonged to the generation after Balakirev and \u201cThe Five,\u201d and his music often brings together Russian lyricism, rich orchestral colour, and a strong command of formal balance. In 1899 he joined the St. Petersburg Conservatory faculty, and in 1905 he became director, a role that made him one of the central musical administrators in Russia as well as one of its most admired composers.\u00a0 \nS\u00e9r\u00e9nade espagnole is the second of Glazunov\u2019s Deux morceaux pour violoncelle avec accompagnement d\u2019orchestre, Op. 20, composed in 1888. The set was written for cello and orchestra and dedicated to the distinguished cellist Aleksandr Verzhbilovich, who was one of the great Russian string players of his day. In these years Glazunov was still in his early twenties and building a reputation as one of the brightest young composers in St. Petersburg. The work belongs to a broader late nineteenth century fascination with Spanish colour found in music across Europe. For Glazunov, Spain was not a source of documentary folk transcription, but a vivid imagined landscape that offered dance rhythm, elegance, and exotic flair.\u00a0 \nWhat makes S\u00e9r\u00e9nade espagnole memorable is the way Glazunov turns a brief concert piece into a scene full of atmosphere. The writing is light on its feet, tuneful, and polished. The cello line sings almost throughout, and the accompaniment supports it with graceful rhythmic lift. Even in music of this scale, Glazunov\u2019s gifts are clear. He knew how to write idiomatically for strings, how to shape a melody so that it feels generous under the hand, and how to suggest place and mood without overstatement. The result is less a portrait of Spain than a finely wrought Russian romantic fantasy about Spain, written with charm and confidence at the start of a major career.\u00a0 \nChant du m\u00e9nestrel, Op. 71, belongs to a later Glazunov. It was first published in 1901, also with a dedication to Aleksandr Verzhbilovich. By then Glazunov had become an established musical authority, no longer simply the gifted prodigy of the Belyayev circle but a mature composer and teacher with an important place in Russian cultural life. The title, \u201cSong of the Minstrel,\u201d places the work in a more inward and poetic world than the stylized brilliance of S\u00e9r\u00e9nade espagnole.\u00a0 \nIn this short work the cello is treated above all as a singing voice. The piece unfolds as a lyric monologue, intimate in scale yet dignified in expression. The \u201cminstrel\u201d of the title suggests an old storyteller or bard, and Glazunov responds with music that feels reflective, vocal, and slightly nostalgic. It is one of those compact works that has remained in the repertory because it says something direct and memorable in only a few minutes. There is no need for display for its own sake. Instead, Glazunov gives the soloist a line of noble simplicity and lets the instrument speak with warmth and restraint.\u00a0\n\n&amp;nbsp;\nDmitri Shostakovich (1906-1975)\n\"Piano Trio No. 2 in E minor,\" Op. 67\nI. Andante, Moderato\nII. Allegro con brio\nIII. Largo\nIV. Allegretto, Adagio\nDmitri Shostakovich wrote his Second Piano Trio in 1944 during the Second World War, in a Soviet Union scarred by invasion, mass death, and immense personal and national grief. The work is dedicated to the memory of Ivan Sollertinsky, Shostakovich\u2019s closest friend, a brilliant critic and scholar whose sudden death in February 1944 devastated the composer. Shostakovich had already begun work on the trio before Sollertinsky died, but he completed it afterward, and the finished work stands as one of his deepest memorial statements.\u00a0 \nSollertinsky was far more than a friend in ordinary social terms. He was one of the most important intellectual presences in Shostakovich\u2019s life, someone who broadened his literary and musical horizons and whose seriousness of mind mattered deeply to him. That private loss sits at the center of the trio, yet the work also belongs unmistakably to wartime. By 1944 Shostakovich had lived through years of terror, official pressure, evacuation, and the war\u2019s appalling violence. This background gives the trio an emotional range that goes beyond personal mourning into something larger, darker, and more public.\u00a0 \nThe opening movement begins in one of the most striking ways in chamber music. A muted cello, playing in high harmonics on its highest string, introduces the first idea in an eerie, almost disembodied sound. The violin repeats the line far below, and the piano enters still lower, creating a canon spread across extreme registers. From this sparse beginning the movement gradually gathers force. The music remains haunted even as it becomes more animated, and the unusual spacing of the opening leaves a lasting impression of distance, fragility, and unease.\u00a0 \nThe second movement is a fierce scherzo, driving and sharply profiled. Its energy can sound hard, sardonic, and relentless. One contemporary connection is especially striking. Sollertinsky\u2019s sister described the movement as an extraordinarily exact portrait of her brother\u2019s temperament, polemical brilliance, and manner of speech. Whether or not one hears it that way in performance, the movement carries a sense of concentrated force, as though grief has suddenly become kinetic and abrasive.\u00a0 \nThe Largo forms the emotional core of the work. It is a passacaglia, built over repeated piano chords that return again and again with grave inevitability. Above them, violin and cello unfold slow lamenting lines, sometimes separately and sometimes in canon. Shostakovich often achieved his strongest effects through restraint, and here the plainness of the repeated harmonic ground gives the movement much of its power. It feels ceremonial, suspended, and unsparing.\u00a0 \nThe finale begins with repeated piano notes and a theme often described as Jewish in character. Shostakovich was deeply moved by Jewish music and later spoke of its capacity to contain merriment on the surface while carrying sorrow within. In this movement the dance becomes increasingly bitter and spectral. Fragments from earlier in the trio return, and the work closes in a mood of exhaustion and resignation rather than consolation. The finale has invited many historical interpretations, but what is certain is the presence of mourning, irony, and a dance impulse transformed into something grim and unforgettable.\u00a0\n\n&amp;nbsp;\nLili Boulanger (1893-1918)\n\"Deux Morceaux pour violon et piano\"\nI. Nocturne\nII. Cort\u00e8ge\nLili Boulanger was born in Paris into one of France\u2019s most musical families. Her father, Ernest Boulanger, had won the Prix de Rome, and her older sister Nadia would become one of the most influential teachers of the twentieth century. Lili herself was a composer of exceptional gifts, working under the burden of frail health from childhood onward. In 1913 she became the first woman to win the Prix de Rome in composition, with her cantata Faust et H\u00e9l\u00e8ne, and her victory quickly made her one of the most closely watched young musicians in France.\u00a0 \nThe two pieces for violin and piano come from the years immediately before the First World War. Nocturne dates from 1911. Cort\u00e8ge dates from 1914. The pair was later published together, and the surviving source tradition identifies them clearly as separate works from those two years. Those dates place them in a revealing period of Boulanger\u2019s life. Nocturne belongs to her student years in Paris, when she was developing her technique and preparing for major public recognition. Cort\u00e8ge belongs to the year after her Prix de Rome triumph, when her career was opening outward even as Europe was moving toward war.\u00a0 \nNocturne is one of Boulanger\u2019s earliest instrumental works to enter the repertory, and it already shows the concentrated refinement of her musical voice. The piece is intimate, lyrical, and carefully shaded, with the violin carrying a long, expressive line over a piano part that supports without ever becoming merely accompanimental. There are clear links to the French world in which she was formed, especially the atmosphere and harmonic delicacy associated with Faur\u00e9 and Debussy, yet the work does not feel imitative. Its strength lies in its poise, economy, and emotional directness.\u00a0 \nCort\u00e8ge offers a vivid contrast. Where Nocturne is inward and suspended, Cort\u00e8ge is lighter, brighter, and more mobile. The title suggests a procession, but not a solemn one. Instead, the music has buoyancy and a touch of wit. Boulanger first wrote the piece in 1914, and it later circulated in the violin and piano version heard tonight. Nadia Boulanger also arranged it for violin and chamber orchestra, evidence of the affection and esteem in which the piece was held.\u00a0 \nBecause Lili Boulanger died in 1918 at only twenty four, her music is often surrounded by the sadness of what was lost. Yet these pieces are not important because they anticipate some later greatness that never arrived. They are important because they already show a composer with a distinct voice, one able to move easily between introspection and brightness, and one whose command of colour, line, and compressed form was already remarkable. In these miniatures, Boulanger writes with elegance, assurance, and personality.\u00a0\n\n&amp;nbsp;\nAstor Piazzolla (1921-1992)\n\"Cuatro Estaciones Porte\u00f1as\" (arranged by Jos\u00e9 Bragato)\nI. Verano Porte\u00f1o\nII. Oto\u00f1o Porte\u00f1o\nIII. Invierno Porte\u00f1o\nIV. Primavera Porte\u00f1a\nAstor Piazzolla was born in Argentina and spent part of his childhood in New York, an experience that exposed him early to jazz, popular music, and the pace of urban modern life. He later became the central figure in the transformation of tango during the twentieth century. Rather than preserving tango as a fixed traditional idiom, he expanded it into what became known as nuevo tango, bringing into it the influence of jazz, counterpoint, concert music, and a much freer, more exploratory harmonic language. This shift was controversial in Argentina, where some listeners felt he had taken tango too far from its roots. For Piazzolla, though, renewal was the point.\u00a0 \nA turning point in his life came in Paris in the 1950s, when he studied with Nadia Boulanger. She recognized that his most individual voice lay not in the more conventionally academic music he had brought to show her, but in the tango-inflected style that was truly his own. That encouragement helped confirm his path. From then on, Piazzolla pursued a language in which tango became concert music without losing its physical drive, sensual edge, or connection to the city.\u00a0 \nThe Cuatro Estaciones Porte\u00f1as were not first conceived as a single four movement suite. They were written as separate pieces between the mid 1960s and 1970 and only later came to be grouped together. \u201cPorte\u00f1o\u201d refers to Buenos Aires and to those who belong to the city. These are therefore not generalized seasons of nature. They are seasons of Buenos Aires, shaped by the mood, energy, and tension of urban life. Wise Music identifies Las Cuatro Estaciones Porte\u00f1as in the Bragato version as a 1970 work for piano and strings, reflecting the later gathered form in which the pieces came to circulate.\u00a0 \nThe first of the four, Verano Porte\u00f1o, dates from 1965. The other season pieces followed over the next several years. In their original form they were associated with Piazzolla\u2019s performing world of violin, piano, electric guitar, double bass, and bandone\u00f3n. This was music rooted in tango rhythm and gesture, but it was also full of sudden contrast, fugue-like writing, lyrical solos, sharp accents, and an almost theatrical command of pacing. Piazzolla\u2019s Buenos Aires is not pastoral. It is restless, nocturnal, sensual, and at times hard-edged.\u00a0 \nTonight\u2019s arrangement is by Jos\u00e9 Bragato, the Italian-born Argentine cellist, composer, arranger, and longtime Piazzolla collaborator. Bragato worked closely with Piazzolla and played an important part in bringing nuevo tango into chamber and concert settings. His arrangement allows the music to speak naturally through violin, cello, and piano while preserving the rhythmic tension and melodic flexibility of Piazzolla\u2019s language. Because Bragato knew this style from the inside, his versions are more than practical transcriptions. They are part of the history of the music itself.\u00a0 \nAcross the four movements, listeners encounter a city rather than a landscape. Verano is heated and urgent. Oto\u00f1o often feels more shadowed and reflective. Invierno brings some of Piazzolla\u2019s most exposed and haunting lyric writing. Primavera has brightness, attack, and nervous energy rather than pastoral ease. Taken together, the Four Seasons of Buenos Aires stand as one of Piazzolla\u2019s clearest demonstrations that tango could carry complexity, sophistication, and emotional depth in the concert hall while remaining unmistakably itself.\n\n\n\nCharlotte Thiele, Bryan Cheng et Silvie Cheng : \u00ab H\u00e9ritage \u00bb\n\n\n\t\t\t\n\t\t\t\tSAMEDI 11 AVRIL 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\nCe programme r\u00e9unit la violoniste allemande Charlotte Thiele, notre musicienne en r\u00e9sidence 2025/26, le violoncelliste Bryan Cheng et la pianiste Silvie Cheng pour une performance qui m\u00eale harmonieusement \u00e9motion, intensit\u00e9 et virtuosit\u00e9. Le programme comprend la \u00ab S\u00e9r\u00e9nade espagnole \u00bb et le \u00ab Chant du m\u00e9nestrel \u00bb d'Alexander Glazounov, des \u0153uvres qui apportent chaleur et beaut\u00e9 lyrique sur sc\u00e8ne, ainsi que le \u00ab Trio pour piano n\u00b0 2 en mi mineur \u00bb de Dmitri Chostakovitch, une \u0153uvre qui a fait ses preuves. 2 en mi mineur \u00bb de Dimitri Chostakovitch, une pi\u00e8ce riche en contrastes dramatiques. Le trio interpr\u00e8te \u00e9galement les \u00e9vocateurs \u00ab 2 Morceaux pour violon et piano \u00bb de Lili Boulanger, ainsi que \u00ab Cuatro Estaciones Porte\u00f1as \u00bb d'Astor Piazzolla, une repr\u00e9sentation vivante des quatre saisons de Buenos Aires, qui met en \u00e9vidence la ma\u00eetrise du trio dans les styles classique et contemporain. Avec chaque \u0153uvre, Thiele et les Chengs proposent un voyage musical dynamique aux multiples facettes. Ensemble, ces musiciens de renomm\u00e9e internationale apportent un sens profond de la collaboration et de l'art, ayant jou\u00e9 dans d'innombrables salles prestigieuses dans le monde entier. Ils ont \u00e9galement partag\u00e9 leurs talents avec des orchestres renomm\u00e9s, apportant leur expertise en mati\u00e8re de musique de chambre \u00e0 des ensembles plus importants \u00e0 travers le monde. Pr\u00e9sent\u00e9 avec le soutien g\u00e9n\u00e9reux de Lang Optometry and Eyewear, partenaire de la r\u00e9sidence des musiciens. Pr\u00e9sent\u00e9 avec le g\u00e9n\u00e9reux soutien de\u00a0Lang Optometry and Eyewear, partenaire de la r\u00e9sidence des musiciens. Sponsor de la saison : Nice Moves / Red Door Realty.\n\n\n\n\t\t\t\n\t\t\t\tARTISTES : Bryan Cheng, violoncelle ; Charlotte Thiele, violon ; Silvie Cheng, piano\n\t\t\t\n\t\t\t\tS\u00c9RIE DE CONCERTS SUR LA SC\u00c8NE PRINCIPALE\n\n\n\u00c0 propos du programme\n&amp;nbsp;\nAlexander Glazounov (1865 \u00e0 1936)\n\u00ab S\u00e9r\u00e9nade espagnole \u00bb, op. 20, no 2\n\u00ab Chant du m\u00e9nestrel \u00bb, op. 71\nAlexander Glazounov est n\u00e9 \u00e0 Saint-P\u00e9tersbourg et s\u2019est impos\u00e9 avec une rapidit\u00e9 peu commune comme l\u2019une des grandes figures de la musique russe. Il a \u00e9tudi\u00e9 avec Nikola\u00ef Rimski-Korsakov, et le d\u00e9but de sa carri\u00e8re a \u00e9t\u00e9 fortement soutenu par l\u2019\u00e9diteur et m\u00e9c\u00e8ne Mitrofan Bela\u00efev, dont le cercle a contribu\u00e9 \u00e0 fa\u00e7onner la vie musicale de la Russie imp\u00e9riale tardive. Glazounov appartenait \u00e0 la g\u00e9n\u00e9ration qui a suivi Balakirev et \u00ab Les Cinq \u00bb, et sa musique r\u00e9unit souvent le lyrisme russe, une riche couleur orchestrale et une solide ma\u00eetrise de l\u2019\u00e9quilibre formel. En 1899, il entre au corps professoral du Conservatoire de Saint-P\u00e9tersbourg, puis en devient le directeur en 1905, un poste qui fait de lui l\u2019un des principaux administrateurs musicaux de Russie, en plus de l\u2019un de ses compositeurs les plus admir\u00e9s.\n\u00ab S\u00e9r\u00e9nade espagnole \u00bb est la deuxi\u00e8me des \u00ab Deux morceaux pour violoncelle avec accompagnement d\u2019orchestre \u00bb, op. 20, compos\u00e9s en 1888. L\u2019ensemble a \u00e9t\u00e9 \u00e9crit pour violoncelle et orchestre et d\u00e9di\u00e9 au grand violoncelliste Aleksandr Verjbilovitch, l\u2019un des plus remarquables instrumentistes russes de son \u00e9poque. Dans ces ann\u00e9es-l\u00e0, Glazounov n\u2019avait qu\u2019un peu plus de vingt ans et se faisait d\u00e9j\u00e0 un nom comme l\u2019un des jeunes compositeurs les plus prometteurs de Saint-P\u00e9tersbourg. L\u2019\u0153uvre s\u2019inscrit dans un engouement plus large de la fin du dix-neuvi\u00e8me si\u00e8cle pour la couleur espagnole, que l\u2019on retrouve dans la musique de plusieurs pays d\u2019Europe. Pour Glazounov, l\u2019Espagne n\u2019\u00e9tait pas une source de transcription fid\u00e8le du folklore, mais plut\u00f4t un paysage imagin\u00e9, vif et s\u00e9duisant, qui lui offrait rythme de danse, \u00e9l\u00e9gance et \u00e9clat exotique.\nCe qui rend \u00ab S\u00e9r\u00e9nade espagnole \u00bb m\u00e9morable, c\u2019est la mani\u00e8re dont Glazounov transforme une br\u00e8ve pi\u00e8ce de concert en une sc\u00e8ne pleine d\u2019atmosph\u00e8re. L\u2019\u00e9criture est alerte, chantante et raffin\u00e9e. La ligne du violoncelle chante presque sans arr\u00eat, et l\u2019accompagnement lui donne un \u00e9lan rythmique souple et gracieux. M\u00eame dans une \u0153uvre de petite dimension, les dons de Glazounov apparaissent clairement. Il savait \u00e9crire avec naturel pour les cordes, fa\u00e7onner une m\u00e9lodie pour qu\u2019elle tombe bien sous les doigts, et sugg\u00e9rer un lieu et une ambiance sans forcer le trait. Le r\u00e9sultat est moins un portrait de l\u2019Espagne qu\u2019une fantaisie romantique russe sur l\u2019Espagne, \u00e9crite avec charme et assurance au d\u00e9but d\u2019une grande carri\u00e8re.\n\u00ab Chant du m\u00e9nestrel \u00bb, op. 71, appartient \u00e0 une p\u00e9riode plus tardive de Glazounov. L\u2019\u0153uvre a \u00e9t\u00e9 publi\u00e9e pour la premi\u00e8re fois en 1901, elle aussi avec une d\u00e9dicace \u00e0 Aleksandr Verjbilovitch. \u00c0 ce moment-l\u00e0, Glazounov \u00e9tait devenu une v\u00e9ritable autorit\u00e9 musicale, non plus simplement le prodige dou\u00e9 du cercle Bela\u00efev, mais un compositeur et p\u00e9dagogue accompli occupant une place importante dans la vie culturelle russe. Le titre, \u00ab Chant du m\u00e9nestrel \u00bb, situe l\u2019\u0153uvre dans un monde plus int\u00e9rieur et plus po\u00e9tique que l\u2019\u00e9clat stylis\u00e9 de \u00ab S\u00e9r\u00e9nade espagnole \u00bb.\nDans cette courte pi\u00e8ce, le violoncelle est trait\u00e9 avant tout comme une voix chantante. L\u2019\u0153uvre se d\u00e9ploie comme un monologue lyrique, intime par l\u2019\u00e9chelle, mais noble dans l\u2019expression. Le \u00ab m\u00e9nestrel \u00bb du titre \u00e9voque un ancien conteur ou un barde, et Glazounov r\u00e9pond par une musique r\u00e9fl\u00e9chie, vocale et l\u00e9g\u00e8rement nostalgique. C\u2019est l\u2019une de ces \u0153uvres br\u00e8ves qui sont rest\u00e9es au r\u00e9pertoire parce qu\u2019elles disent quelque chose de direct et de durable en seulement quelques minutes. Il n\u2019y a ici aucun besoin de virtuosit\u00e9 pour elle-m\u00eame. Glazounov offre plut\u00f4t au soliste une ligne d\u2019une noble simplicit\u00e9 et laisse l\u2019instrument parler avec chaleur et retenue.\n\n&amp;nbsp;\nDmitri Chostakovitch (1906 \u00e0 1975)\n\u00ab Trio pour piano no 2 en mi mineur \u00bb, op. 67\nI. \u00ab Andante, Moderato \u00bb\nII. \u00ab Allegro con brio \u00bb\nIII. \u00ab Largo \u00bb\nIV. \u00ab Allegretto, Adagio \u00bb\nDmitri Chostakovitch a compos\u00e9 son \u00ab Trio pour piano no 2 \u00bb en 1944, pendant la Seconde Guerre mondiale, dans une Union sovi\u00e9tique marqu\u00e9e par l\u2019invasion, les pertes massives et un deuil national et personnel immense. L\u2019\u0153uvre est d\u00e9di\u00e9e \u00e0 la m\u00e9moire d\u2019Ivan Sollertinski, l\u2019ami le plus proche du compositeur, critique et \u00e9rudit brillant dont la mort soudaine, en f\u00e9vrier 1944, a profond\u00e9ment boulevers\u00e9 Chostakovitch. Le compositeur avait d\u00e9j\u00e0 commenc\u00e9 \u00e0 travailler au trio avant le d\u00e9c\u00e8s de Sollertinski, mais il l\u2019a achev\u00e9 par la suite, et l\u2019\u0153uvre termin\u00e9e demeure l\u2019un de ses plus profonds hommages fun\u00e8bres.\nSollertinski \u00e9tait bien plus qu\u2019un ami au sens ordinaire du terme. Il fut l\u2019une des pr\u00e9sences intellectuelles les plus importantes dans la vie de Chostakovitch, quelqu\u2019un qui a \u00e9largi ses horizons litt\u00e9raires et musicaux, et dont la rigueur d\u2019esprit comptait \u00e9norm\u00e9ment pour lui. Cette perte intime se trouve au c\u0153ur du trio, mais l\u2019\u0153uvre appartient aussi de fa\u00e7on \u00e9vidente au temps de guerre. En 1944, Chostakovitch avait d\u00e9j\u00e0 travers\u00e9 des ann\u00e9es de terreur, de pressions officielles, d\u2019\u00e9vacuation et de violence effroyable li\u00e9e \u00e0 la guerre. Ce contexte donne au trio une port\u00e9e \u00e9motionnelle qui d\u00e9passe le deuil personnel pour toucher quelque chose de plus vaste, plus sombre et plus public.\nLe premier mouvement commence d\u2019une fa\u00e7on parmi les plus saisissantes de toute la musique de chambre. Un violoncelle avec sourdine, jouant en harmoniques aigu\u00ebs sur sa corde la plus haute, pr\u00e9sente la premi\u00e8re id\u00e9e dans une sonorit\u00e9 \u00e9trange, presque d\u00e9sincarn\u00e9e. Le violon reprend la ligne beaucoup plus bas, puis le piano entre encore plus grave, cr\u00e9ant un canon r\u00e9parti sur des registres extr\u00eames. \u00c0 partir de ce d\u00e9but d\u00e9pouill\u00e9, le mouvement gagne peu \u00e0 peu en intensit\u00e9. La musique demeure hant\u00e9e m\u00eame lorsqu\u2019elle devient plus anim\u00e9e, et l\u2019espacement inhabituel du d\u00e9but laisse une impression durable de distance, de fragilit\u00e9 et de malaise.\nLe deuxi\u00e8me mouvement est un scherzo f\u00e9roce, tendu et nettement profil\u00e9. Son \u00e9nergie peut para\u00eetre dure, sarcastique et implacable. Un t\u00e9moignage contemporain est particuli\u00e8rement frappant. La s\u0153ur de Sollertinski a d\u00e9crit ce mouvement comme un portrait d\u2019une exactitude extraordinaire du temp\u00e9rament de son fr\u00e8re, de son brio pol\u00e9mique et de sa mani\u00e8re de parler. Qu\u2019on l\u2019entende ainsi ou non en concert, le mouvement d\u00e9gage une impression de force concentr\u00e9e, comme si le deuil se transformait soudain en mouvement nerveux et abrasif.\nLe \u00ab Largo \u00bb constitue le noyau \u00e9motionnel de l\u2019\u0153uvre. Il s\u2019agit d\u2019une passacaille, construite sur des accords r\u00e9p\u00e9t\u00e9s au piano qui reviennent encore et encore avec une gravit\u00e9 in\u00e9vitable. Au-dessus, le violon et le violoncelle d\u00e9ploient de lentes lignes de lamentation, parfois s\u00e9par\u00e9ment, parfois en canon. Chostakovitch obtenait souvent ses effets les plus puissants par la retenue, et ici, la sobri\u00e9t\u00e9 du fond harmonique r\u00e9p\u00e9t\u00e9 donne au mouvement une grande part de sa force. Tout y semble c\u00e9r\u00e9moniel, suspendu et sans concession.\nLe finale commence avec des notes r\u00e9p\u00e9t\u00e9es au piano et un th\u00e8me souvent d\u00e9crit comme ayant un caract\u00e8re juif. Chostakovitch \u00e9tait profond\u00e9ment touch\u00e9 par la musique juive et a plus tard parl\u00e9 de sa capacit\u00e9 \u00e0 porter une gaiet\u00e9 en surface tout en contenant la douleur \u00e0 l\u2019int\u00e9rieur. Dans ce mouvement, la danse devient de plus en plus am\u00e8re et spectrale. Des fragments entendus plus t\u00f4t dans le trio r\u00e9apparaissent, et l\u2019\u0153uvre se termine dans un climat d\u2019\u00e9puisement et de r\u00e9signation plut\u00f4t que de consolation. Ce finale a suscit\u00e9 bien des interpr\u00e9tations historiques, mais ce qui est certain, c\u2019est la pr\u00e9sence du deuil, de l\u2019ironie et d\u2019un \u00e9lan de danse transform\u00e9 en quelque chose de sombre et d\u2019inoubliable.\n\n&amp;nbsp;\nLili Boulanger (1893 \u00e0 1918)\n\u00ab 2 Morceaux pour violon et piano \u00bb\nI. \u00ab Nocturne \u00bb\nII. \u00ab Cort\u00e8ge \u00bb\nLili Boulanger est n\u00e9e \u00e0 Paris dans l\u2019une des familles les plus musicales de France. Son p\u00e8re, Ernest Boulanger, avait remport\u00e9 le Prix de Rome, et sa s\u0153ur a\u00een\u00e9e Nadia allait devenir l\u2019une des p\u00e9dagogues les plus influentes du vingti\u00e8me si\u00e8cle. Lili elle-m\u00eame \u00e9tait une compositrice d\u2019un talent exceptionnel, travaillant depuis l\u2019enfance sous le poids d\u2019une sant\u00e9 fragile. En 1913, elle devient la premi\u00e8re femme \u00e0 remporter le Prix de Rome en composition, avec sa cantate \u00ab Faust et H\u00e9l\u00e8ne \u00bb, et cette victoire la fait rapidement conna\u00eetre comme l\u2019une des jeunes musiciennes les plus remarqu\u00e9es de France.\nLes deux pi\u00e8ces pour violon et piano datent des ann\u00e9es qui pr\u00e9c\u00e8dent imm\u00e9diatement la Premi\u00e8re Guerre mondiale. \u00ab Nocturne \u00bb date de 1911. \u00ab Cort\u00e8ge \u00bb date de 1914. Les deux ont ensuite \u00e9t\u00e9 publi\u00e9es ensemble, et la tradition des sources conserv\u00e9es les identifie clairement comme deux \u0153uvres distinctes de ces ann\u00e9es-l\u00e0. Ces dates les situent dans une p\u00e9riode r\u00e9v\u00e9latrice de la vie de Boulanger. \u00ab Nocturne \u00bb appartient \u00e0 ses ann\u00e9es d\u2019\u00e9tude \u00e0 Paris, alors qu\u2019elle d\u00e9veloppe sa technique et se pr\u00e9pare \u00e0 une reconnaissance publique importante. \u00ab Cort\u00e8ge \u00bb, lui, appartient \u00e0 l\u2019ann\u00e9e qui suit son triomphe au Prix de Rome, au moment o\u00f9 sa carri\u00e8re s\u2019ouvre davantage, alors m\u00eame que l\u2019Europe se dirige vers la guerre.\n\u00ab Nocturne \u00bb est l\u2019une des premi\u00e8res \u0153uvres instrumentales de Boulanger \u00e0 \u00eatre entr\u00e9e au r\u00e9pertoire, et elle montre d\u00e9j\u00e0 le raffinement concentr\u00e9 de sa voix musicale. La pi\u00e8ce est intime, lyrique et subtilement nuanc\u00e9e, le violon portant une longue ligne expressive au-dessus d\u2019un piano qui soutient sans jamais devenir un simple accompagnement. On y per\u00e7oit des liens \u00e9vidents avec le monde fran\u00e7ais dans lequel elle a \u00e9t\u00e9 form\u00e9e, surtout l\u2019atmosph\u00e8re et la d\u00e9licatesse harmonique associ\u00e9es \u00e0 Faur\u00e9 et Debussy, mais l\u2019\u0153uvre ne donne jamais l\u2019impression d\u2019imiter. Sa force repose sur son \u00e9quilibre, son \u00e9conomie de moyens et sa franchise expressive.\n\u00ab Cort\u00e8ge \u00bb offre un contraste marqu\u00e9. L\u00e0 o\u00f9 \u00ab Nocturne \u00bb est int\u00e9rioris\u00e9 et suspendu, \u00ab Cort\u00e8ge \u00bb est plus l\u00e9ger, plus lumineux et plus mobile. Le titre \u00e9voque une procession, mais non pas une procession solennelle. La musique a plut\u00f4t de l\u2019\u00e9lan et m\u00eame une touche d\u2019esprit. Boulanger a d\u2019abord \u00e9crit la pi\u00e8ce en 1914, et elle a ensuite circul\u00e9 dans la version pour violon et piano entendue ce soir. Nadia Boulanger en a aussi r\u00e9alis\u00e9 un arrangement pour violon et orchestre de chambre, preuve de l\u2019affection et de l\u2019estime que cette pi\u00e8ce inspirait.\nComme Lili Boulanger est morte en 1918 \u00e0 seulement vingt-quatre ans, sa musique est souvent entour\u00e9e de la tristesse de ce qui a \u00e9t\u00e9 perdu. Pourtant, ces pi\u00e8ces ne sont pas importantes parce qu\u2019elles annonceraient une grandeur future qui n\u2019a jamais eu le temps d\u2019arriver. Elles sont importantes parce qu\u2019elles montrent d\u00e9j\u00e0 une compositrice dot\u00e9e d\u2019une voix distincte, capable de passer avec naturel de l\u2019introspection \u00e0 la lumi\u00e8re, et dont la ma\u00eetrise de la couleur, de la ligne et de la forme br\u00e8ve \u00e9tait d\u00e9j\u00e0 remarquable. Dans ces miniatures, Boulanger \u00e9crit avec \u00e9l\u00e9gance, assurance et personnalit\u00e9.\n\n&amp;nbsp;\nAstor Piazzolla (1921 \u00e0 1992)\n\u00ab Cuatro Estaciones Porte\u00f1as \u00bb arrang\u00e9es par Jos\u00e9 Bragato\nI. \u00ab Verano Porte\u00f1o \u00bb\nII. \u00ab Oto\u00f1o Porte\u00f1o \u00bb\nIII. \u00ab Invierno Porte\u00f1o \u00bb\nIV. \u00ab Primavera Porte\u00f1a \u00bb\nAstor Piazzolla est n\u00e9 en Argentine et a pass\u00e9 une partie de son enfance \u00e0 New York, une exp\u00e9rience qui l\u2019a tr\u00e8s t\u00f4t expos\u00e9 au jazz, \u00e0 la musique populaire et au rythme de la vie urbaine moderne. Il est devenu par la suite la figure centrale de la transformation du tango au vingti\u00e8me si\u00e8cle. Plut\u00f4t que de pr\u00e9server le tango comme un idiome traditionnel fig\u00e9, il l\u2019a \u00e9largi pour cr\u00e9er ce qu\u2019on a appel\u00e9 le nuevo tango, en y int\u00e9grant l\u2019influence du jazz, du contrepoint, de la musique de concert et d\u2019un langage harmonique beaucoup plus libre et exploratoire. Ce changement a \u00e9t\u00e9 controvers\u00e9 en Argentine, o\u00f9 certains auditeurs estimaient qu\u2019il avait \u00e9loign\u00e9 le tango de ses racines. Pour Piazzolla, pourtant, le renouvellement \u00e9tait essentiel.\nUn tournant dans sa vie survient \u00e0 Paris dans les ann\u00e9es 1950, lorsqu\u2019il \u00e9tudie avec Nadia Boulanger. Elle reconna\u00eet que sa voix la plus personnelle ne se trouve pas dans la musique plus acad\u00e9miquement traditionnelle qu\u2019il lui avait apport\u00e9e, mais dans le style marqu\u00e9 par le tango qui lui appartenait vraiment. Cet encouragement l\u2019a aid\u00e9 \u00e0 confirmer sa voie. \u00c0 partir de l\u00e0, Piazzolla a poursuivi un langage dans lequel le tango devenait musique de concert sans perdre son \u00e9lan physique, sa sensualit\u00e9 ni son lien avec la ville.\nLes \u00ab Cuatro Estaciones Porte\u00f1as \u00bb n\u2019ont pas d\u2019abord \u00e9t\u00e9 con\u00e7ues comme une seule suite en quatre mouvements. Elles ont \u00e9t\u00e9 \u00e9crites comme des pi\u00e8ces s\u00e9par\u00e9es entre le milieu des ann\u00e9es 1960 et 1970, et ce n\u2019est que plus tard qu\u2019elles ont \u00e9t\u00e9 r\u00e9unies en un ensemble. Le mot \u00ab porte\u00f1o \u00bb renvoie \u00e0 Buenos Aires et \u00e0 celles et ceux qui appartiennent \u00e0 la ville. Il ne s\u2019agit donc pas ici de saisons g\u00e9n\u00e9ralis\u00e9es de la nature. Ce sont les saisons de Buenos Aires, fa\u00e7onn\u00e9es par l\u2019atmosph\u00e8re, l\u2019\u00e9nergie et les tensions de la vie urbaine. Wise Music identifie \u00ab Las Cuatro Estaciones Porte\u00f1as \u00bb dans la version de Bragato comme une \u0153uvre de 1970 pour piano et cordes, ce qui refl\u00e8te la forme rassembl\u00e9e sous laquelle ces pi\u00e8ces ont ensuite circul\u00e9.\nLa premi\u00e8re des quatre, \u00ab Verano Porte\u00f1o \u00bb, date de 1965. Les autres saisons ont suivi au cours des ann\u00e9es suivantes. Dans leur forme originale, elles appartenaient \u00e0 l\u2019univers d\u2019interpr\u00e9tation de Piazzolla, avec violon, piano, guitare \u00e9lectrique, contrebasse et bandon\u00e9on. Cette musique est ancr\u00e9e dans le rythme et les gestes du tango, mais elle est aussi pleine de contrastes soudains, d\u2019\u00e9criture proche de la fugue, de solos lyriques, d\u2019accents incisifs et d\u2019un sens presque th\u00e9\u00e2tral de la progression. Le Buenos Aires de Piazzolla n\u2019a rien de pastoral. Il est agit\u00e9, nocturne, sensuel et parfois rugueux.\nL\u2019arrangement entendu ce soir est de Jos\u00e9 Bragato, violoncelliste, compositeur, arrangeur italo-argentin et proche collaborateur de Piazzolla. Bragato a travaill\u00e9 \u00e9troitement avec lui et a jou\u00e9 un r\u00f4le important dans l\u2019entr\u00e9e du nuevo tango dans les contextes de musique de chambre et de concert. Son arrangement permet \u00e0 cette musique de parler avec naturel \u00e0 travers le violon, le violoncelle et le piano, tout en pr\u00e9servant la tension rythmique et la souplesse m\u00e9lodique du langage de Piazzolla. Comme Bragato connaissait ce style de l\u2019int\u00e9rieur, ses versions sont plus que de simples transcriptions pratiques. Elles font partie de l\u2019histoire m\u00eame de cette musique.\n\u00c0 travers les quatre mouvements, l\u2019auditeur rencontre une ville plut\u00f4t qu\u2019un paysage. \u00ab Verano \u00bb est chauff\u00e9 \u00e0 blanc et urgent. \u00ab Oto\u00f1o \u00bb para\u00eet souvent plus ombrag\u00e9 et plus r\u00e9fl\u00e9chi. \u00ab Invierno \u00bb offre certaines des lignes les plus expos\u00e9es et les plus poignantes de Piazzolla. \u00ab Primavera \u00bb a de l\u2019\u00e9clat, de l\u2019attaque et une \u00e9nergie nerveuse plut\u00f4t qu\u2019une douceur pastorale. Ensemble, les \u00ab Quatre Saisons de Buenos Aires \u00bb montrent avec une grande clart\u00e9 que le tango pouvait porter complexit\u00e9, raffinement et profondeur expressive dans la salle de concert tout en demeurant pleinement lui-m\u00eame.","image":"https://www.ceciliaconcerts.ca/wp-content/uploads/2025/06/Cecilia-Concerts-Classical-Music-Halifax-Nova-Scotia-Cheng-Thiele-Cheng-Trio-1-1-2.jpg","sku":37108,"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/charlotte-thiele-bryan-cheng-silvie-cheng/","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 37108 */ #pgc-37108-0-0 { width:40.0263%;width:calc(40.0263% - ( 0.59973718222505 * 30px ) ) } 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