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Home  >  BC Scholarship Programme – 2026/2027

BC Scholarship Programme

Since the Fall of 2017, Early Music Vancouver (EMV) has offered a scholarship programme awarding up to 10 scholarships to BC residents. Qualified candidates are professional-track music students or active professional musicians seeking to develop skills in early music performance. This initiative is aimed at increasing the long-term sustainability of the period performance scene in British Columbia.

For instrumentalists, involvement in the Baroque Orchestra Mentorship Programme at UBC (BOMP) is encouraged but not required.

This initiative is supported by Bryan & Gail Atkins

2026-2027 Scholarship Winners

Full Scholarships:

Tamsyn Lazek-Schryer, violin

Rebecca Ruthven, baroque violin

Sandra Espinola, cello

Farrah O’Shea, baroque violin/viola

Anise Buelow, violin

Jillian Tam, voice

Aubrey Scorca, flute

Partial Scholarships:

Sophia Hillstrom, viola

Julian Lee De Vita, cello

Anastasia Pyshna, voice

Joya Muma, baroque lute


The Application Process

APPLICATIONS ARE NOW CLOSED

Applicants must submit the following by email to sarah@earlymusic.bc.ca by JANUARY 16, 2026 with the subject line “BC Scholarship Programme 2026”:

1. Contact Information: (Full name, mailing address, email address, phone number)
2. Educational Background/Resume
3. A brief essay in which you describe your musical background, your specific experience with early music, the name and background of the teacher you would like to study with, and how further exploration of early music performance will enhance your development as a musician. Word Limit: 500 Max
4. Two letters of recommendation (testimonials via email are acceptable), one sent directly from a teacher who can comment on your experience in early music, and one sent directly from a principal music teacher who can comment on your work more broadly.
5. A 5-minute unedited audio/video recording of Baroque or Classical music performed on your historical or your modern instrument.


Award

The maximum number of awards to be given in a year is set at 10 students, each of whom can be awarded as many as 15 private one-hour lessons over the course of the year. The total number of scholarships awarded in a year will be based on the number of applications. A progress review will be submitted by instructors for each student once seven of the lessons have been completed.

Your scholarship funds must be used by January 26, 2027 (within one year of receiving your scholarship).

Note: previous scholarship winners are welcome to re-apply.


Judging

The applications are reviewed by an anonymous panel of early music specialists.


Application & Deadline

THE 26/27 APPLICATION PROCESS IS NOW CLOSED


Meet Your Teachers!

The list below includes the BC Scholarship program’s core BC teachers. You may suggest other regional teachers and, if there is no regional teacher for your instrument, you may suggest an out of province teacher. These would be for online lessons unless the teacher is traveling to Vancouver and agrees to teach you while in B.C.

Suzie LeBlanc, C.M., voice

Krisztina Szabo, voice

Alexander Weimann, harpsichord & fortepiano, organ

Chloe Meyers, violin, viola

Natalie Mackie, viola da gamba, cello, violone

Soile Stratkauskas, flute

Matthew Jennejohn, baroque oboe, recorder, cornetto 

Katrina Russell, bassoon

Andrew Clark, horn

1254 W 7TH AVE
VANCOUVER, BC, V6H 1B6

(604) 732-1610
staff@earlymusic.bc.ca

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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.)