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Home  >  Early Music Vancouver Past Events  >  Cameron Crozman & Meagan Milatz: The Early Romantics

Tuesday, August 6, 2024 | 1 p.m.Christ Church Cathedral, Vancouver


Cameron Crozman & Meagan Milatz: The Early Romantics

Works by: Beethoven, Schumann, Mendelssohn

Artists: Cameron Crozman, cello & Meagan Milatz, fortepiano

Hailed as “Canada’s next big cello star” by CBC Music, Cameron Crozman makes his Early Music Vancouver debut playing on a c. 1750 Gennaro Gagliano cello, generously on loan from the Canada Council for the Arts Instrument Bank. Meagan Milatz, fortepiano, is “a remarkable pianist with a seemingly limitless palette of expression” (Le Devoir) and is quickly emerging as one of the most sought-after collaborative artists in Canada.

Together, this cello-fortepiano duo will perform works by Beethoven, Schumann, and Mendelssohn. Their concert will feature EMV’s stunning Graf fortepiano built by Paul McNulty.

Generously sponsored by Jens and Linda Lee Henriksen

Runtime: 60 min, no intermission


PROGRAMME

Ludwig van Beethoven (1770-1827)

Sonata for cello and piano no. 5 in D major, op. 102 no. 2 

  1. Allegro con brio
  2. Adagio con molto sentiment d’affeto
  3. Allegro

Robert Schumann (1810-1856)

Fünf Stücke im Volkston, op. 102 

  1. Mit Humor
  2. Langsam
  3. Nicht schnell, mit viel Ton zu spielen
  4. Nicht zu rasch
  5. Stark und markiert

Felix Mendelssohn (1809-1847)

Sonata for cello and piano no. 2 in D major, op. 58 (26’)

  1. Allegro assai vivace
  2. Allegretto scherzando
  3. Adagio
  4. Molto allegro e vivace

Cameron Crozman, cello

A cellist “with a rich imagination and a keen mind” (Diapason Magazine), Canadian Cameron Crozman leads an active performing career as a soloist and chamber musician in Canada, the USA, and Europe. He has appeared as a soloist with the Orchestre National d’Ile-de-France (Paris), Montreal, Winnipeg, Hamilton, and Vancouver Island Symphonies among others, and engagements have taken him everywhere from the Shanghai Oriental Arts Centre to the Philharmonie de Paris. An avid collaborator and chamber musician, Cameron shares the stage with eminent artists such as James Ehnes, Augustin Hadelich, Louis Lortie, Gérard Caussé, and James Campbell. He has released critically acclaimed recordings for the ATMA Classique and Printemps des Arts de Monaco labels and his performances are broadcast on CBC, BBC, RTÉ Radio, Radio France, and Medici.tv.

Winner of the 2021 Canada Council for the Arts Virginia Parker Prize, the Council’s largest award for emerging classical musicians, Cameron was CBC/Radio-Canada’s 2019 Classical Revelation artist and a laureate of Gautier Capuçon’s Classe d’Excellence at the Louis Vuitton Foundation in Paris. A student at the Paris Conservatoire, he received his “Prix de violoncelle” with highest honours studying in the class of Michel Strauss. In 2018, he received a one year mentorship with violinist James Ehnes as part of the André-Bourbeau award from the Jeunesses Musicales Canada. 

Cameron is the co-founder of ClassicalValley, a festival bringing together chamber music and wine in Okanagan Valley of British Columbia, Canada, and the artistic director of chamber music for the Edeta Arts International Festival in Llíria, Spain, designated a Creative City of Music by the UNESCO. He currently plays on a c. 1750 Gennaro Gagliano cello, generously on loan from the Canada Council for the Arts Instrument Bank.

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Meagan Milatz, fortepiano

Meagan Milatz is “a remarkable pianist with a seemingly limitless palette of expression” (Le Devoir), and is quickly emerging as one of the most sought-after collaborative artists in Canada. She regularly shares the stage with top international musicians including Andrew Wan, concertmaster of the Montreal Symphony Orchestra; Stefan Dohr, Principal Horn of the Berlin Philharmonic; cellist Matt Haimovitz; and mandolinist Avi Avital.

Meagan has appeared as a soloist alongside orchestras such as the Edmonton, Regina, Sherbrooke, and McGill Symphonies. She was top prize winner in the Shean Piano Competition, CFMTA National Piano Competition, and Canadian Music Competition as well as a recipient of a Sylva Gelber Music Foundation Award. Internationally, she has performed at the New Ross Piano Festival in Ireland in 2023 and the Edeta Arts International Chamber Music Festival in 2022, where she appeared in concert in Spain with Kai Gleusteen, concertmaster of the Orchestra del Gran Teatre del Liceu of Barcelona. Her duo “meagan&amy” with violinist Amy Hillis launched onto the scene with their debut album Roots in 2019 before embarking on a 50-concert, Canada-wide tour as winners of the first-ever Pan-Canadian Partnership Recital Tour offered by Jeunesses Musicales Canada, Debut Atlantic, and Prairie Debut. 

Meagan began her studies in Saskatchewan and holds a Master’s degree from McGill University. She is grateful to her teachers and lifelong mentors Cherith Alexander, Ilya Poletaev, Philip Chiu, and Tom Beghin with whom she was greatly privileged to study the fortepiano. Recently, she launched a brand-new violin-and-piano duo partnership, “Duo M”, alongside Violaine Melançon, renowned violinist and founding member of the Peabody Trio. She has also recorded an album for ATMA Classique of music for fortepiano and natural horn alongside Louis-Pierre Bergeron, to be released in December 2023.

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Een Romantische Johannes Passion

Historical Performance has been steadily looking toward the nineteenth-century as a source of inspiration, and Orchestra Lagrandt wants to lead the charge into Romantic orchestral performance practice. As an orchestra of ambitious musicians in their twenties from 25 different nations, we aspire to represent the voice of the new generation in Historical Performance.

Een Romantische Johannes Passion is an ongoing project to reimagine the Johannes Passion of J. S. Bach in a late nineteenth century style. The first Passion revivals in the Netherlands took place in Rotterdam in 1870, featuring large symphonic orchestrations, and a radically different musical language than that of the HP and modern classical worlds. In our initial performance with the Tangram Chamber Choir, we pushed the boundaries of what Romantic Bach might have sounded like: exploring changes in orchestration, stoic tempi, rubato, phrasing, nineteenth- century bowing practices, and even portamento. We plan to establish this project as an annual tradition every Easter season, reworking the arrangement each time in the spirit of Romantic spontaneity.


One of the wonderful things about the Historical Performance movement is that we are able to use forgotten practices, this time hailing from the nineteenth century, to present such a beloved and well known-work in a new light.

The world is familiar with stories of clever forgers whose life’s mission is to cunningly reproduce the light and shadows of historical masterworks, from Vermeer’s brushstrokes to Da Vinci’s proportional precision… but what if these crimes of craftsmanship were to extend beyond the visual arts? What if the pieces we know to be by Palestrina, Monteverdi or even Johann Sebastian Bach were in fact stylistic copies, artfully composed by a secret circle of music forgers and passed off as the work of the greats? What if those music forgers are at work as we speak? 

This premise inspires our original program The Music Forgery Workshop. Our early music comedy imagines the lives of such a circle of musical criminals, offering a fresh and lively presentation of historical compositions, not as museum artifacts but as living works in progress. The workshop itself is set up on the stage and its members carry forth the plot in music and words. A narrator in the role of a suspicious inspector lends the performance a theatrical flow. The listener is invited into a satire on high society’s art commerce, while the performers make fun of themselves for having devoted their lives to the niche subject of historical music performance. 

Violinist Elizabeth Sommers combines her skills and experience in traditional music with expertise in the performance and improvisation of medieval and Renaissance repertoires. Multi-instrumentalist Eliot X. Dios (keyboards, bagpipes and flutes) works wholeheartedly to employ storytelling techniques developed through the history of literature and cinema in his early music concerts. Composer Gunnar Haraldsson (violin, guitar) seeks to translate the forms and intentions of early composition for a modern audience. Halldór B. Arnarson (keyboards, voice) has devoted his career to bringing musical craftsmanship from the era of counterpoint to the attention of the public and comedy to the early music scene. Singer and storyteller Ásta S. Arnardóttir brings the storyline to the public with personal immediacy, and through her character work defines the different veins of the show, sometimes hilarious and sometimes serious. 

The story is narrated by the character of the Inspector, acted out by the members of the MFW, and told in rhyming Icelandic verse in one musical pillar of the show, a madrigal composed by our very own 

Halldór in the style of Monteverdi. The show has an entertaining educational dimension. The audience is exposed to a broad sweep of historical and musical information in a condensed form, necessary to understand the musical humour, while dramatic rhythm and scenographic effects prevent overwhelm. We also place particular emphasis on theatrical illusion and synchronisation. One example appears in the opening scene, in which the inspector is seen watching television. On stage, this becomes a complex exercise in coordination: each time the inspector presses a button on the remote control, the musicians instantly switch pieces, creating the impression of rapidly changing television channels. 

This opening scene establishes the tone of the entire show, comical and satirical in its storytelling and diverse in its musical language. It not only introduces the wide range of musical styles that appear throughout the performance, but also functions as the plot’s inciting incident, as the inspector hears a news report about the discovery of a previously unknown concerto by Vivaldi. 

Another important scene takes place when one forger is alone on stage in low light, perusing books on medieval music, while the musicians perform and sing offstage, sounding his audiation as he reads. This intimate moment evokes the sleepless nights spent studying facsimiles and learning historical compositional techniques, by which the forger acquires the inspiration and the expertise necessary to his art, and reveals a hidden side of musical performance: the immense amount of study and preparation that precedes the moment on stage. This setting also creates space for visual and musical comedy, as seen in the trailer video, where a 14th-century melody is played backwards because Halldór is unknowingly reading the facsimile upside-down, only realising the mistake when the music begins to sound absurd. 

Fun and friendship are at the heart of the whole project, though the link between music and crime is an important historical consideration. Classical music was often used as the demonstration of a monarch’s power, music teaching as a cover up for secret affairs, and pieces were published under another’s name for profit. Such examples of “inappropriate practices” carry an exciting and attractive element for the audience which the MFW seeks to exploit. Under this light-hearted surface lies a more serious layer of questions concerning our present-day existence, such as excessive materialism in high society and the threat posed on human craftsmanship and skill by the rise of artificial intelligence. 

Please Note:

The main applicant and creative/intellectual driver of the project must be 30 or under (on May 15th).

The average age of all musicians must not be older than 32, and the maximum age of supporting musicians must be no more than 35 (on May 15th.)