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Home  >  Education & Community  >  Summer Programmes  >  Tuition & Scholarships

Tuition & Scholarships

Baroque Vocal Programme Scholarships

A number of merit-based scholarships are available for the Baroque Vocal Programme and Medieval Programme; these scholarships will offer a  50% reduction in tuition fees. See Application Details for information on how to apply.

Tuition Fee Discount for UBC Students

Students at the University of British Columbia School of Music who are accepted into the courses qualify for an Early Music Vancouver scholarship which will cover 50% of tuition fees. UBC Students are required to formally apply for such a discount, and submit their Registration Form to the office of the Vancouver Early Music Programme, together with the required materials.

EMA Scholarships

Early Music America (EMA) offers scholarships in the amount of $1000 or $1250 to full time students attending summer early music workshops in the United States and Canada. Deadline for applications is April 1, 2017. This year, EMA will be using an online application process; the portal will open on March 1 and be open until April 1. Decisions will be made by May 15.

EMSI Scholarships

The Early Music Society of the Islands (EMSI), based in Victoria BC, offers bursaries to support early music concerts, recitals, extra-curricular studies and community education projects – for permanent residents of Vancouver Island or the Gulf Islands. Applications are accepted at any time during the Society’s fiscal year (June 1 to May 31) and will be considered as long as there are funds still available. Applicants must use the forms provided at the Society ’s web site.


Tuition and Auditing Fees

BAROQUE VOCAL PROGRAMME

Full Participants: The tuition fee for Full Participants in the Baroque Vocal Programme is Cdn $1,350 for two weeks. Included are tickets for all Vancouver Early Music Festival performances that take place during the weeks of the Baroque Vocal Programme. A non-refundable deposit of Cdn $100 is required with registration; the balance is due by Saturday, July 1, 2017.

Participating Auditors: The tuition fee for Participating Auditors in the Baroque Vocal Programme is Cdn $500 per week. These Participating Auditors will take part in all aspects of the course (including coaching from faculty coach-accompanists), but will not actively participate in the masterclasses and not receive private lessons from Ellen Hargis. Included are tickets for the concerts of the Vancouver Early Music Festival that take place during the week(s) for which you have registered.

Late registrations: Late registrations will be considered only if space permits.


HISTORICAL DANCE WORKSHOP with Marie-Nathalie Lacoursiere

Participants: The tuition fee for this Introductory Dance Workshop is Cdn$100.

A reduced combined fee of Cdn $175 applies to those who also register for the Harpsichord Maintenance Workshop (see below).


HARPSICHORD MAINTENANCE WORKSHOP with Craig Tomlinson

Participants: The tuition fee for this Harpsichord Maintenance Workshop with Craig Tomlinson is Cdn $100.

A reduced combined fee of Cdn $175 applies to those who also register for the Historical Dance Workshop (see above).


NON-PARTICIPATING AUDITORS

Day Auditors: The daily Auditing fee is Cdn $100, or Cdn $60 for mornings or afternoons only

Week Auditors: The Auditing fee is Cdn $350 per week. This weekly Auditing fee also includes up to 2 tickets for concerts during the week for which you have registered.

Advance registration is not required; you can register upon arrival at the Programme Office (room 326 in the UBC Music Building). We do recommend that Week Auditors register in advance, especially if accommodation on campus is required. Advance registration for Week Auditors will also ensure that you will receive your ticket for the opening Sunday evening course of the week.

Non-Participating Auditors will be welcome at any activity of the Programme. These Non-Participating Auditors will be able to attend all sessions of the courses (except private lessons), without actively participating.


APPLICATION DETAILS | ONLINE COURSE REGISTRATION FORM


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.)