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Home  >  Early Music Vancouver Past Events  >  Eric Guo in Recital

Sunday, September 14, 2025 | 3pmVancouver Playhouse


Eric Guo in Recital

BUY TICKETS

Artists: Eric Guo, fortepiano

Pre-Concert Chat: 02:30pm hosted by Patrick May with Eric Guo

Runtime: Approximately 90 min + 20 min Interval

“His delicacy and subtlety elude many of his competition-prize-winning contemporaries, and he has the liquid quality of tone and phrase that Chopin demands.”
– Boston Music Intelligencer

Canadian pianist and rising star Eric Guo makes his Vancouver debut in this co-presentation between EMV and the Vancouver Chopin Society. A gold medalist of the International Chopin Competition on Historical Instruments in Warsaw (2023) and laureate of the Canadian Chopin Competition, Eric will perform a programme of Chopin’s works on EMV’s 1876 newly acquired Pleyel piano, beautifully restored by Mike Story. 

Click here for programme notes by Ruth Enns

This concert is generously sponsored In Loving Memory of Ralph & Therese Spitzer

TICKETS ON SALE IN JULY 2025 THROUGH THE CHOPIN SOCIETY

Presented in collaboration with the Vancouver Chopin Society. 


PROGRAMME

Frédéric Chopin (1810-1849)

Etude in E flat minor, Op. 10, No. 6
Mazurkas Op.17
Polonaise in F-sharp minor, Op. 44
Prelude in C sharp minor, Op. 45
Ballade No. 4 in F minor

INTERVAL

Sonata No. 2 in B-Flat minor, Op. 35
Impromptu in G-flat Major, Op. 51
Prelude in E flat Major, Op. 28 No. 19
Prelude in C minor, Op. 28 No. 20
Prelude in B-flat Major, Op. 28 No. 21
Prelude in G minor, Op. 28 No. 22
Prelude in F Major, Op. 28 No. 23
Prelude in D minor, Op. 28 No. 24

Eric Guo, fortepiano

Born in Toronto, Eric Guo started piano at 4 years old. As a recipient of David and Renette Berman Scholarships, he enrolled in Athe rtist Diploma Program in Sept 2024 studying under Professor John Perry and James Anagnoson after obtaining a Bachelor of Music in Piano Performance (Honours) at The Glenn Gould School of The Royal Conservatory in Toronto.

As a soloist, Eric has appeared with numerous orchestras: the UK’s Royal Philharmonic, {oh!} Orkiestra, Collegium 1704, Bach Collegium Japan, Ural Youth Symphony, Fort Worth, Minnesota, Toronto Symphony Orchestra, Ontario Philharmonic, Burlington Symphony Orchestra, Oakville Chamber Orchestra, Drummondville Orchestra, among others.

Eric has performed in concert in Warsaw Philharmonic, Chopin’s Birthplace at Żelazowa Wola, the Chopin Museum, Krzysztofory Palace, Pszczyna castle, Rudolfinum, BOZAR, Lukaskirche Dresden, Salle Cortot, Bibliothèque Polonaise, Ateneo de Madrid, Ehrbar Saal, Tokyo Opera City Hall, Hamamatsu Act City, Hyogo Performing Arts Center, Merkin Concert Hall in New York (aired on WQXR), Orchestra Hall in Minneapolis, North Carolina Museum of Art, Stetson Chapel, Gusman Concert Hall, Koerner Hall, Roy Thomson Hall, George Weston Hall, Four Seasons Center, Harbourfront Theatre, McMaster University’s LIVELab, etc.

He has honed his artistry in numerous festivals/courses, including: Radziejowice (modern and fortepiano), Brescia, Piano Academy Eppan, Gilmore Festival Fellowship and Maria Joao Pires' Partitura Project.

He was named one of the CBC 30 Hot Canadian Classical Musicians Under 30 in 2019.


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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.)