Wednesday August 7, 2019 | 1:00PM (Pre-concert talk at 12:15PM)
Christ Church Cathedral | Map
Parnassus Musicus: Music of the Austrian Habsburgs
In the early Baroque era, the Austrian Habsburg courts at Graz and Vienna were a cauldron for a rich stew of German and Italian music. The young Archduke Ferdinand (1578–1637) established a vibrant musical ensemble at his court in Graz, where German musicians were gradually joined by Italian newcomers who introduced Baroque novelties like canzonas, sonatas, and concertos. The Italians had triumphed by the time that now-Emperor Ferdinand II took up his throne in Vienna in 1619. In this programme featuring Austrian instrumental music of the early Baroque, La Modestine, Cappella Borealis, and special guests join forces to explore Habsburg music from both sides of the Alps, including motets, canzonas, sonatas, and sacred music for violins, sackbuts, organ, and voices.
This concert is generously supported by Zelie & Vincent Tan
Canzone terza à 6
Orlando di Lasso
lied Der Wein à 5 (1573)
Ricercare del Duodecimo Tono
Philippe de Mont
Clamavi de tribulatione mea à 6
Solo motet from the Parnassus musicus
Orlando di Lasso
Luxuriosa res vinum à 6 (1594)
canzona for organ
Canzone prima à 6
Giovanni Giacomo Arrigoni
Sonata in d à 6
Solo motet from the Parnassus musicus
Sonata in G
Giovanni Battista Buonamente
Sonata à 6
Ellen Marple (alto sackbut) took up the trombone at age 11 with dreams of playing swing and soon became fascinated with the instrument’s incredible versatility, immersing herself in style and technique across genres. While a student at the University of North Texas, Ellen met Lyle Nordstrom and discovered a deep love for early music that she continued to explore in her subsequent studies at the University of British Columbia with Alex Fisher, Ray Nurse, Doreen Oke, Jeremy Berkman and Gordon Cherry.
As a freelancer, Ellen can be found performing and recording an eclectic mix of music with ensembles including Capella Borealis, the Hard Rubber Orchestra, Skim Milk, and the VSO.
Alex Fisher (tenor sackbut) studied modern trombone at Northwestern University (B.Mus. 1992), where he first encountered the sackbut and other early winds in the university’s Early Music Ensemble. He has performed as a trombonist and singer with the Early Music Institute at Indiana University (M.A. 1995) and at Harvard University (Ph.D. 2001). A professor of musicology at the University of British Columbia since 2002, he specializes in music of Renaissance and Baroque Germany, teaches a range of courses in early music, and is the coordinator of UBC Early Music.
Jeremy Berkman (tenor sackbut) currently performs with a diverse set of outstanding musical colleagues that include Vancouver Opera’s orchestra, Turning Point Ensemble, the Jill Townsend Big Band, and most recently Cappella Borealis, where he is feeling the thrill of opening a musical chest of extraordinary music that as a sackbut player he is now able to explore. Originally from Amherst, Massachusetts and with degrees from Oberlin Conservatory, and the Juilliard School, Jeremy chose to reside in Canada after spending a transformative winter at the Banff Centre for the arts where he fell in love with Canada and his wife, Sheila McDonald. Jeremy is a Sessional Instructor of Trombone at the University of British Columbia, where, among many exciting projects with which he has been involved, he first performed as a sackbut player for Nathan Wilkes’ Doctoral recital!
Nathan studied bass trombone performance at Oberlin Conservatory (BM, BA) and at the University of British Columbia (DMA). Though Nathan has a wide range of musical interests, from performing 12th C organa with Chanterie (as a singer) to renaissance winds (recorder, shawm, krummhorn) to premieres for modern bass trombone, he has a special affinity for concerted music of the early 17th century.
La Modestine was formed in 2016 by four renowned musicians who discovered that playing together was one of their great joys. La Modestine’s repertoire focusses on music of the Baroque for one or two violins, viola da gamba and basso continuo. Members include Marc Destrubé, Natalie Mackie, Linda Melsted and Michael Jarvis.
Marc Destrubé enjoys a diverse international career on historical and modern violins, performing as soloist, chamber musician, concertmaster or director/conductor. He is co-concertmaster of the Orchestra of the 18th Century (Amsterdam), first violinist of the Axelrod String Quartet (Smithsonian Institution, Washington, DC) and of the Vancouver quartet Microcosmos, and is a regular guest director and soloist with the Australian Brandenburg Orchestra, the Australian Haydn Ensemble and Lyra Baroque Orchestra. In Vancouver he has been director of the Pacific Baroque Orchestra, concertmaster of the CBC Radio Orchestra and first violinist with the Purcell String Quartet. He performs regularly for Early Music Vancouver, is Artistic Director of the Pacific Baroque Festival (Victoria), a member of the Turning Point Ensemble, and concertmaster of the Oregon Bach Festival Baroque Orchestra. His recording of Haydn violin concertos (ATMA) has been critically acclaimed, and he has commissioned and premiered numerous works by Canadian composers. A highly-respected teacher, he has been a visiting artist at the Paris, Utrecht and Moscow Conservatories, the Banff Centre, University of Indiana, Case Western University, UVic, UBC and VCC. He is on the faculty of the Berwick Academy at the Oregon Bach Festival and course co-director of the Twin Cities Baroque Instrumental Programme. http://marcdestrube.com
The passionate artistry of violinist Linda Melsted has won the hearts of audiences across North America, Europe, and Japan. Currently concertmaster of Seattle Baroque Orchestra, she has appeared as soloist, member, and leader
of many outstanding ensembles, including Tafelmusik, Portland Baroque Orchestra, Pacific MusicWorks, Pacific Baroque Orchestra, and Freiburg Baroque Orchestra. Linda is the featured soloist in Tafelmusik’s documentary “Le Mozart Noir”, and has recorded for Sony, ATMA, Classique, and Harmonia Mundi.
Linda’s true love is chamber music. She has performed with many ensembles in chamber music series from Toronto to Seattle including Early Music Vancouver, Gallery Concerts, Northwest Showcase, Camerata Musica, Folia, Discovery Island Music Festival, La Primavera, and Toronto Music Garden. She is co-founder of the chamber ensemble sound|counterpoint (www.soundcounterpoint.org) as well as the Cosi Quartet, a classical oboe quartet, and the Salish Sea Players (www.salishseaplayers.org), a group dedicated to bringing early music to retirement and nursing facilities in the greater Seattle area. Linda is also a cat lover and shares her home with three cute kitties-Gus, Gerome, and Kalli. Linda performs on a Nicolo Amati violin.
Natalie Mackie studied cello at the Conservatoire de Musique (Québec), followed by a degree from the School of Music, University of British Columbia. While at UBC, she began studying viola da gamba as well, and later pursued further studies at the Koninklijk Conservatorium in The Hague. Natalie has played with many ensembles in Canada and the U.S., including New World Consort, Les Coucous Bénévoles, Tafelmusik Baroque Orchestra, Seattle and Portland Baroque Orchestras, Les Voix Humaines, Les Voix Baroques, Tempo Rubato, Oregon Bach Festival Orchestra, Victoria Baroque Players, Vancouver Intercultural Orchestra, and others. She has toured throughout Canada, the U.S. and Europe, playing in cities such as New York, Boston, San Francisco, at London’s Wigmore Hall, Paris, Cologne, Strasbourg, Utrecht and Bologna, among others, and has recorded for Radio France, German Radio, BBC, CBC, and NPR, as well as the Canadian label Atma Classique. She plays violone, viola da gamba, and occasionally baroque cello, in Pacific Baroque Orchestra, and the Bach Cantata Project players, and frequently appears in Early Music Vancouver’s summer Festival. Natalie also has a passionate and abiding interest in new music and performs newly commissioned works both as a soloist and with the ensembles of which she is a member.
Michael Jarvis has been called one of Canada’s finest harpsichordists, fortepianists and continuo players, and is in demand as a collaborative artist. He may be heard on Marquis, Hungaroton, ATMA, and Naxos CDs, as well as London Records, and has broadcast nationally for the CBC and in the US on NPR. Michael hosted three specials on Bravo-TV: “A Baroque Christmas”, “A Baroque Easter” and co-hosted the13-part series on 19th-century domestic music, “Come into the Parlour”. He conducted in Toronto the premiere of the 12-tone opera “Cassandra” by Vancouver composer Ian McAndrew to rave reviews in Opera Canada. His performing editions of 17th/18th century choral and organ music have been published by GIA, Chicago. He has taught harpsichord at the University of Toronto, Wilfred Laurier in Waterloo, and Havergal College, Toronto, and fortepiano at UBC. Recently he has worked with violinist Paul Luchkow in an exploration of the Classical/Romantic sonata repertoire. Their recording of Hummel Sonatas (a Western Canada Music Award nominee, on a fortepiano from 1800) for fortepiano and violin/viola is available on Marquis Classics. His forthcoming CD on the Marquis label, the complete sonatas for harpsichord and violin (on mythological themes), op.25 by Michel Corrette, is currently in post-production. Michael lives in Victoria, BC.