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Home  >  Early Music Vancouver Events  >  Beethoven & Schubert Trios

Thursday, August 6, 2026 | 7:30pmChrist Church Cathedral

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Beethoven & Schubert Trios

Artists: Alan Choo, violin; Jaap ter Linden, cello; David Breitman, piano

Pre-Concert Chat: 7pm hosted by Christina Hutton with Choo, ter Linden, and Breitman.

Run Time: 100 Minutes, with Interval

This programme is created around a specific piano, the 1819 Graf, and presents two icons of the repertoire (Beethoven’s Ghost and Schubert’s op. 100) alongside a little-known gem: the single movement Beethoven wrote for pianist Maximiliane Brentano. Beethoven bares his soul in the middle movement of Ghost, a meditation on tragedy, despair and hope, while the outer movements sizzle with energy and humour. Schubert’s E-flat trio is from his last year of life; it’s hard not to imagine the composer in ill health, desperately trying to express everything he could. Listeners familiar with piano trios played on modern instruments will be surprised: this ensemble sounds more like a string quartet, with each of the pianist’s hands acting as an instrument of its own.

Generously sponsored by The Graham & Gayle Cooke Foundation.


PROGRAMME

Beethoven

Trio in B-flat, WoO39 (1812)                                                                        

Allegretto             

Trio in D-major, Opus 70 no 1, Ghost. (1808)

Allegro vivace e con brio

Largo assai ed espressivo

Presto

Intermission

Schubert

Trio in E-flat, D  929  

Allegro

Andante con moto

Scherzo-Allegro moderato

Allegro moderato

Alan Choo, Violin

Singaporean violinist Alan Choo has established himself on the global stage as a leading soloist, chamber musician and historical specialist. He is Concertmaster and Assistant Artistic Director of Apollo’s Fire, the Grammy Award-winning baroque orchestra in the United States, and made his solo debut with them at the Tanglewood and Ravinia Music Festivals in 2017. He is also Founder and Artistic Director of Red Dot Baroque, Singapore’s first professional period ensemble and Ensemble-in-Residence at the Yong Siew Toh Conservatory of Music. His solo album of the complete Mystery Sonatas by Heinrich Biber with Apollo’s Fire was released on AVIE Records in March 2024 and debuted at #2 on the Billboard Classical chart, earning a double 5-star review from BBC Music Magazine, and receiving rave reviews from multiple publications such as The Strad (UK) and Classica Magazine (France).

Jaap ter Linden, Cello

Jaap ter Linden, viola da gamba and baroque cello, is a Dutch pioneer in the world of Early Music. Currently based in the United States, he is on the faculty of the Cleveland Institute of Music and Case Western Reserve University, where he directs ensembles and the baroque Orchestra. His extensive discography includes 2 recordings of the JS Bach suites for cello solo, the complete Mozart symphonies with the Mozart Akademie which he founded and conducted, as well as countless recordings with Musica Antiqua Cologne, the English Concert and the Amsterdam Baroque Orchestra. During his performance career he has collaborated with such well known musicians as Andrew Manze, Ton Koopman, Richard Egarr,, Reinhard Goebel and Gustav Leonhardt to name a few. As a solo and chamber music player and conductor, Ter Linden has toured throughout Europe, the United States, Australia, China and Japan.

David Breitman, Piano

David Breitman is Associate Professor of Historical Performance at Oberlin Conservatory where he teaches fortepiano and clavichord as well as courses in performance practice. He has recorded all of Beethoven’s violin sonatas with Elizabeth Wallfisch, the cello sonatas with Jaap ter Linden, the Mozart violin sonatas with Jean-François Rivest, as well as 4 CD of vocal music with the late Sanford Sylvan, whom he partnered in recital for over 30 years. In a collaboration of a different sort, he is one of seven fortepianists on the 10-CD recording of the complete Beethoven piano sonata cycle on CLAVES. With his book, Piano-Playing Revisited: What Modern Players Can Learn from Period Instruments which appeared to critical acclaim in 2021, Breitman summarizes a lifetime of experience as a performer and teacher.


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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.)