Saturday January 28, 2017 | 7:30pm (Pre-concert talk 6:45pm)
Christ Church Cathedral | Map
A collaboration with the Vancouver Symphony’s New Music Festival and the Pacific Baroque Orchestra
New Music for Old Instruments is a series. Click here for details on January 25th’s performance.
Co-Curated by EMV Composer in Residence Rodney Sharman and PBO Music Director Alexander Weimann.
EMV partners with the Pacific Baroque Orchestra and the Vancouver Symphony’s New Music Festival for a concert of contemporary compositions written for Baroque instruments and counter-tenor
Click here for information about parking around / transiting to Christ Church Cathedral
FALLING STILL (2001) – Emily Doolittle (b. 1972)*
violin soloist and string orchestra – 5′
RICERCAR (premiere, 2014) – Thierry Tidrow (b. 1986)*
solo violin – 9′
SINFONIA (premiere 2016) – Linda Catlin Smith (b. 1957)*
orchestra – 7′
SHE WALKS IN BEAUTY (2015) – Rodney Sharman (b. 1958)*
voice and lute – 4′
FANDANGO IMMANIS (2011) – André Ristic (b. 1972)*
2 violins, 2 gambas, cello, guitar, harpsichord – 13′
GOLDEN (2001) – Jocelyn Morlock (b. 1969)*
voice, string orchestra – 9′
LA BELLE-ANSE (2016) – Patrick Giguère (b. 1987)*
string orchestra – 7’
OBSESSIONS (2012/15) – Rodney Sharman (b. 1958)*
voice, string orchestra – 2′
voice, string orchestra – 3′
SONG FROM FAUST (2015/16) – Rodney Sharman (b. 1958)*
voice, string orchestra – 3′
LADY BE GOOD (1924) – George and Ira Gershwin (1898-1937, 1896-1983) arr. Alex Weimann
voice, full orchestra – 4′
BEIN’ GREEN (1970) – Joe Raposo (1937-1989) arr. Alex Weimann (b. 1965)
voice, string orchestra – 2′
EV’RY TIME WE SAY GOODBYE (1944) – Cole Porter (1891-1964) arr. Rodney Sharman
voice, full orchestra- 5′
Improvisations on Old Standards by Reggie Mobley, Bramwell Tovey and Alex Weimann and more.
Three Songs: Obsessions, Liebesleid/Lovepain, Song from Faust
Obsessions (2012/15) is excepted from a music-dance-theatre piece, From the House of Mirth, James Kudelka, choreography, and Alex Poch-Goldin, text after the novel by Edith Wharton. It is sung by Selden (countertenor) to Lily, who perform a dance portraying the complexity of their tender, impossible relationship, which remains distant even though they love one another. I re-wrote the piece for voice and string orchestra in 2015 for the Prince George Symphony.
Liebesleid/Lovepain (2001) was written for countertenor and baroque strings, premiere by Matthew White, countertenor, innovations en concert, Montréal. I adapted the piece for baritone and modern strings for a larger piece premiered by the VSO in 2002, Love, Beauty, Desire. I wrote the text in German and English.
Song from Faust (2015/16) completes the cycle of three songs. I translated two of the most famous lines in all of German literature from Johann Wolfgang von Goethe’s Faust. I wrote this song for voice and modern strings for Robin Norman and the Prince George Symphony, rewriting it for countertenor and Baroque strings especially for Reggie Mobley, to whom it is dedicated.
Alexander Weimann is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After traveling the world with ensembles like Tragicomedia, and as frequent guest with Cantus Cölln, the Freiburger Barockorchester, Gesualdo Consort and Tafelmusik, he now focuses on his activities as conductor of the Pacific Baroque Orchestra in Vancouver, music director of the Seattle Baroque Orchestra and regular guest conductor of ensembles including the Victoria Symphony Nova Scotia, Arion Baroque Orchestra in Montreal and the Portland Baroque Orchestra.
Weimann was born in 1965 in Munich, where he studied the organ, church music, musicology (with a summa con laude thesis on Bach’s secco recitatives), theatre, mediæval Latin, and jazz piano, supported by a variety of federal scholarships. From 1990 to 1995, Weimann taught music theory, improvisation, and Jazz at the Munich Musikhochschule. Since 1998, he has been giving master classes in harpsichord and historical performance practice at institutions such as Lunds University in Malmö and the Bremen Musikhochschule, and at North American universities such as The University of California in Berkeley, Dartmouth College in New Hampshire, McGill University, Université de Montréal, and Mount Allison in New Brunswick. Since 2007, he has conducted several acclaimed opera productions at the Amherst Early Music Festival. He now teaches at the University of British Columbia and directs the Baroque Orchestra Mentorship Programme there.
A multiple Juno and Grammy nominee, Weimann can be heard on some 100 CDs. Recent highlights include an Opus and Juno award winning CD of Handel oratorio arias with soprano Karina Gauvin, a recording of Bach’s St. John’s Passion with Les Voix Baroques/Arion Baroque Orchestra, and a Juno nominated recording of Handel’s Orlando with the Pacific Baroque Orchestra that was also awarded a Gramophone Editor’s Choice award.
Rodney Sharman lives in Vancouver, BC. He has been Composer-in-Residence with the Victoria Symphony, the National Youth Orchestra of Canada and the Vancouver Symphony Orchestra. In addition to concert music, Rodney Sharman writes music for cabaret, opera and dance. He works regularly with choreographer James Kudelka, for whom he has written scores for Oregon Ballet Theatre, San Francisco Ballet and Coleman Lemieux & Co. (Toronto). Sharman was awarded First Prize in the 1984 CBC Competition for Young Composers and the 1990 Kranichsteiner Prize in Music, Darmstadt, Germany.
His score for the music-dance-theatre piece, From The House Of Mirth, won the 2013 Dora Mavor Moore Award for outstanding sound design/composition (choreography by James Kudelka, text by Alex Poch Goldin after Edith Wharton’s The House of Mirth). He was a 2014 Djerassi Artist-in-Residence, Woodside, California.
Reginald L. Mobley
Countertenor Reginald Mobley fully intended to speak his art through watercolours and oil pastels until circumstance demanded that his own voice should speak for itself. Since reducing his visual colour palette to the black and white of a score, he has endeavored to open a wider spectrum onstage.
His natural habitat as a soloist is within the works of Bach, Charpentier, Handel, and Purcell. Not to be undone by a strict diet of cantatas, odes, and oratorios, however, Reggie finds himself equally comfortable in rep of later periods and genres. A long-time member of the twice GRAMMY® nominated Miami-based professional vocal ensemble, Seraphic Fire, Reggie has also had the privilege to lend his talents to other ensembles in the US and abroad including John Eliot Gardiner’s Monteverdi Choir, the Handel and Haydn Society, the Boston Early Music Festival, the Oregon Bach Festival, Tafelmusik Baroque Orchestra, Pacific MusicWorks, Pacific Baroque Orchestra, Apollo’s Fire, Vox Early Music, Portland Baroque Orchestra, North Carolina Baroque Ensemble, Ensemble VIII, San Antonio Symphony and Symphony Nova Scotia.
Not confined to conventional countertenor repertoire, the “barn-burning, […]phenomenal” male alto has a fair amount of non-classical work under his belt. Not long after becoming a countertenor, he was engaged in several musical theatre productions. Most notable among them was the titular role in Rupert Holmes’ Mystery of Edwin Drood, and Jacey Squires in Meredith Willson’s The Music Man. In addition to his work in musical theatre, he performed many cabaret shows and sets of jazz standards and torch songs in jazz clubs in and around Tokyo, Japan. Reggie studied voice at the University of Florida with Jean Ronald LaFond, and at Florida State University with Roy Delp.
Pacific Baroque Orchestra
The Pacific Baroque Orchestra (PBO) is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears”. PBO brings the music of the past up to date by performing with cutting-edge style and enthusiasm. Formed in 1990, the orchestra quickly established itself as a force in Vancouver’s burgeoning music scene with the ongoing support of Early Music Vancouver.
In 2009, PBO welcomed Alexander Weimann as Artistic Director. His imaginative programming and expert leadership have drawn in many new concertgoers, and his creativity and engaging musicianship have carved out a unique and vital place in the cultural landscape of Vancouver.
PBO regularly joins forces with internationally celebrated Canadian guest artists, providing performance opportunities for Canadian musicians while exposing West Coast audiences to a spectacular variety of talent. The Orchestra has also toured BC, the northern United States and across Canada as far as the East Coast. The musicians of the Pacific Baroque Orchestra have been at the core of many large-scale productions by Early Music Vancouver in recent years, including many summer festival performances led by Alexander Weimann.
Juno-nominated composer Jocelyn Morlock is one of Canada’s most distinctive voices. She began her term as the Vancouver Symphony Orchestra’s Composer in Residence on September 1, 2014, having just completed a term as the inaugural Composer in Residence for Vancouver’s Music on Main.
“A lyrical wonder, exquisite writing” with “an acute feeling for sonority” and an approach that is “deftly idiomatic” (Vancouver Sun), Morlock’s music has received numerous accolades, including: Top 10 at the 2002 International Rostrum of Composers; Winner of the 2003 CMC Prairie Region Emerging Composers competition; winner of the Mayor’s Arts Awards Emerging Artist (2008); Juno Nomination for Classical Composition of the Year in 2011. Her first full-length CD release, Cobalt, was nominated for three Western Canadian Music Awards and won Classical Composition of the year in 2015.
Highlights of recent premieres include Earthfall for the Vancouver Symphony Orchestra, Big Raven for the Emily Carr String Quartet, Ornithomancy, a concerto for flutist Paolo Bortolussi and the Vancouver Island Symphony, Three Meditations on Light for the Couloir duo, and Luft, a music and dance production with choreography by Simone Orlando, featuring Josh Beamish and the dancers of MOVE: The Company, written forTurning Point Ensemble’s prize-winning production Firebird 2011.