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Home  >  Early Music Vancouver Events  >  Music for the Little Ice Age

Friday, September 18, 2026 | 7:30pmChrist Church Cathedral

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Music for the Little Ice Age

Artists: Pacific Baroque Orchestra; members the Vancouver Chamber Choir; and Soressa Gardner, electronics; directed by Alexander Weimann

Pre-concert Chat: TBA

Runtime: TBA

The Little Ice Age was a period of temperature instability that brought storms, war, and famine, but also shaped art, culture, and political reform.

This programme features the premiere of Snow Skills, a newly commissioned work by composer Peter Hannan that blends humans with electronics, and the past with the present. Stories unfold through Renaissance letters and speech set against contemporary digital transmissions, performed by a small vocal ensemble, with the Pacific Baroque Orchestra on period instruments and electronic tracks.

Paired with works by Buxtehude, Eimwag, Schein and Scheidt that echo themes of upheaval and renewal, this evening invites reflection on the fragility and resilience of human life across time, and reminds us that climate change is not only a scientific or political issue but a profoundly human story.


PROGRAMME

Peter Hannan (1953 – )

Snow Skills

Works by Buxtehude, Eimwag, Schein and Scheidt

Complete programme TBA


Pacific Baroque Orchestra

The ‘house band’ of Early Music Vancouver, The Pacific Baroque Orchestra (PBO) is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears.” 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 Director. His imaginative programming, 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 throughout BC, the northern United States, and across Canada. Their 2019 East Coast Canadian tour with Canadian soprano Karina Gauvin culminated in a critically acclaimed album, Nuit Blanches, released by Atma Classique. 

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Vancouver Chamber Choir

Artistic Director Kari Turunen began leading the Vancouver Chamber Choir (VCC), one of Canada’s premier professional choral ensembles, in September 2019. Founded by Jon Washburn in 1971 the VCC has enjoyed amazing success -, ranking with the handful of North America’s best professional choruses and noted for its diverse repertoire and performing excellence. In addition to concerts at home in Vancouver and across Canada, international excursions have taken them to the USA, Mexico, Japan, China, Hong Kong, Taiwan, South Korea, Finland, France, Germany, the Czech Republic, Russia, Estonia, Latvia, Lithuania and Ukraine.

VCC has performed countless concerts and broadcasts, released 36 recordings and received numerous awards including the Margaret Hillis Award for Choral Excellence by Chorus America. Foremost supporters of Canadian music, they are responsible for commissions and premieres of nearly 400 choral works by 150 composers and arrangers, most of whom are Canadian. Over the years the choir has sung over 4,000 performances of works by Canadian composers, in addition to their extensive international repertoire. The choir’s award-winning educational programs include the Conductors’ Symposium for advanced choral conductors, Interplay interactive workshops for choral composers, Focus professional development program for student singers, OnSite visitations for school choirs, the biennial Young Composers’ Competition, and many on-tour workshops and residencies.

 

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Soressa Gardner, Electronics

Soressa Gardner is vocalist, laptop composer/improvisor, and sometimes songwriter. Her keen sense of mood, colour, humour and gravitas are expressed through extended vocals enhanced by electronic manipulations and sound-worlds carefully crafted from a variety of audio processing techniques. She performs with VEE (Vancouver Electronic Ensemble) and is a member of Frame Drag Trio (with Ross Birdwise and Joe Rzemieniak) and DB Boyco’s Voice Over Mind improvising choir.

Soressa’s recent live performances include Victoria’s Wonderment Festival (2020), Vancouver New Music Festival: Resonances (2019, The Annex) and CoexistDance: Western Edition #2 (2019, ScotiaDance Centre). Her electronic compositions have garnered international recognition and airplay. Commissions include Co-op Radio’s Media Arts Committee annual Audio Art CD and the video poem Little Black Strap, featuring Canada’s first poet laureate George Bowering.
A  Vancouverite by birth, Soressa holds a music degree from Vancouver Community College and currently resides in Victoria, BC, Canada.

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Alexander Weimann | Sponsored by Bruce Munro Wright, O.B.C., Director

The internationally renowned keyboard artist Alexander Weimann has spent his life enveloped by the therapeutic power and beauty of making music. Alex grew up in Munich. At age three he became fascinated by the intense magic of the church organ. He started piano at six, formal organ lessons at 12 and harpsichord at university (along with theatre theory, medieval Latin and jazz piano.) He is in huge demand as a director, soloist and chamber player, traveling the world with leading North American and European ensembles. He is Artistic Director of the Pacific Baroque Orchestra in Vancouver and teaches at the University of British Columbia where he directs the Baroque Orchestra Mentorship Programme.

Alex has appeared on more than 100 recordings, including the Juno-award-winning album “Prima Donna” with Karina Gauvin and Arion Baroque orchestra. His latest album series “The Art of Improvisation” (Volume 1: A Prayer for Peace; Volume 2: Ad libitum; and Volume 3: Canavian Variations, released on Redshift, 2024) unites his passions for both baroque music and improvisation on organ, harpsichord, and piano.

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Peter Hannan, Composer

Peter Hannan has completed about 70 commissions, involving both acoustic and electronic media for widely diverse musical situations, including operas for National Arts Centre; Modern Baroque Opera; Vancouver New Music as well as works for Vancouver Symphony, Winnipeg Symphony, Pacific Baroque Orchestra, Hard Rubber Orchestra, Icebreaker London and the Stratford Festival.

His most recent recording Rethink Forever, won “Best Classical Recording” at the 2011 Western Canada Music Awards . Also has many other CD releases with positive Canadian and international press and web reviews, and numerous radio recordings – CBC Radio; BBC Radio; WDR Koln; Radio Bremen; Radio France; NOS Radio, Holland.

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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.)