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Home  >  Early Music Vancouver Past Events  >  Bach Festival 2022 Digital Concert Hall Package

Bach Festival 2022 Digital Concert Hall Package

Summer 2022Online


Our Digital Concert Hall gives you access to watch three concerts from our summer Bach Festival from the comfort of your own home. This package also includes a free film for you to enjoy! These concerts cannot be purchased individually.

**Links to view the concerts will be sent once they become available, and can be viewed until Aug 31st, 11 p.m. PST **

Ebb and Flow – available July 30th at 7 p.m.

Artists: Pacific Baroque Orchestra, Alexander Weimann, music director; David Greenberg, violin; David McGuinness, keyboard; Fiona Tinwei Lam, Vancouver poet laureate

Join Vancouver’s new Poet Laureate, Fiona T Lam, EMV’s Artists-in-Residence and the Pacific Baroque Orchestra in a musical celebration of water.

The Pacific Baroque Orchestra will perform Handel’s Water Music – a suite of highly spirited dance pieces for a small orchestra. Originally intended for outdoor performance, the work premiered on a barge on the River Thames, where it provided entertainment for a royal cruise hosted by King George I of Great Britain on July 17, 1717. The king was so delighted with the new work that he asked to hear it over and over—for a total of four performances. Telemann’s water music, Hamburger Ebb’ und Fluth, celebrated the centennial anniversary of the Hamburg Admiralty in 1723. The suite draws upon Hamburg’s geographical location as an important and successful port on the river Elbe. Telemann illustrates the piece with mythological water deities and tone painting. Alasdair MacLean is a Canadian composer living in Nova Scotia. His piece for five strings, The Silken Water is Weaving and Weaving, was inspired by a line from the poem Cape Breton by Pulitzer Prize winner Elizabeth Bishop (1911-1976).

This concert is generously supported by Zelie & Vincent Tan, Helen & Frank Elfert, Mark De Silva.

The Next Generation – available Aug 3rd at 7 p.m.

Artists: Ellen Torrie, soprano; Marie Nadeau-Tremblay, violin; Sylvain Bergeron, theorbo

EMV’s Emerging Artists’ Concert features the next generation of musicians performing works by Francesca Caccini and Barbara Strozzi, Henry Purcell and J.H. Schmelzer. The 17th century was a time of great innovation in music thanks to the rise of composers who happily defied the rules of composition. Early Music Vancouver’s 2022 Emerging Artists, Ellen Torrie, soprano, and Marie-Nadeau Tremblay, violinist, are part of the next generation of musicians who also defy established practices and bring a fresh look at early music.

Ellen Torrie is a singer-songwriter and storyteller based in Montréal who works and collaborates fearlessly across a multitude of musical genres and artistic mediums. They have just completed their master’s degree in early music voice at McGill University.

Marie Nadeau-Tremblay discovered the Baroque violin during her last year at McGill University. Transported by the beauty of this music, she plunged headfirst into the Baroque world. Marie released her first solo album, Preludes et Solitudes, in 2021 and promptly won the Discovery of the Year Prize at the Opus Awards 2022. We are excited to be able to support both of these genre-pushing young artists at Early Music Vancouver, and we look forward to seeing them make their mark in the music world.

“My passion is to bridge musical and social worlds by using elements of historical performance practice to democratize music and facilitate community storytelling.”
– Ellen Torrie

This concert is generously supported by the EMV Board of Directors.

Bach: Kaleidoscope/Reimaginations – available Aug 6th 7 p.m.

Artists: Pacific Baroque Orchestra – Alexander Weimann, music director & harpsichord; Christina Hutten, harpsichord; 2022 Artist-in-Residence David McGuinness, harpsichord; Marco Vitale, harpsichord; Chloe Myers, violin; 2022 Artist-in-Residence David Greenberg, violin

This programme takes on Bach’s love of adopting other pieces as in Vivaldi’s Concerto for Four Violins and Strings which he reworked for four harpsichords. Bach added at least four extra parts and restructured the fabric like a kaleidoscope which, when directed at a certain object, is reflective and imaginative at the same time. Programming Bach’s concerto for four harpsichord gives EMV a chance to showcase four outstanding keyboard players as well as its harpsichord collection. It also features the excellent work of local builder Craig Tomlinson whose instruments are used by the Vancouver Symphony, Vancouver Opera, UBC and EMV. This concert is a celebration of magnificent polyphony, counterpoint and accumulated keyboard power but mostly, it is a tribute to the immense wealth of Bach’s compositions.

This concert is generously sponsored by Eric Wyness.

Black Fiddlers – Bonus Free Film available July 27th at 7 p.m.

**The film will be available for viewing from July 27th at 7 p.m. PST until August 6th at 11 p.m. PST. **

Directed by Eduardo Montes-Bradley, the film traces the personal and family stories of violin players of African descent in New York, North Carolina, Ohio, Virginia, Texas, Missouri, and as far as Oregon during the Indian Wars and the Gold Rush. Inspired by the legacy of Joe & Odell Thomson, director Montes-Bradley resorted to performers Rhiannon Giddens and Justin Robinson from The Carolina Chocolate Drops, and old-time fiddler Earl White to reconstruct three-hundred years of Black music with the help of local historians, academics, and award-winning authors like Kip Lornell and John J. Sullivan.

Black Fiddlers is the result of one year of uninterrupted research, on the road and on location. The result is a compelling one-hour documentary film carefully designed to inform and entertain while presenting the audience with a diversity of arguments never explored before on film.

**These concerts CANNOT be purchased individually**


Purchase The Package

Click here to purchase the Digital Concert Hall Package for $39.00.

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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.)