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Alexander Weimann; Rodney Sharman
A two concert collaboration with the Vancouver Symphony’s New Music Festival
New Music for Old Instruments is a series. Click here for details on January 28th’s performance.
Contemporary compositions written for baroque instruments
Co-Curated by Composer Rodney Sharman and PBO Music Director Alexander Weimann. Performers include: Camille Hesketh soprano, Vicki Boeckman recorder, Soile Stratkauskas flute, Chloe Meyers violin, Beiliang Zhu gamba/cello
Alexander Weimann Harpsichord
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*Christopher Reiche (b. 1983) – An Overture for Joy (2014) – fl, violin, cello, harpsichord – 8’
Markus Zahnhausen (b. 1965) – 2 movements from Winterbilder (1989-91) – recorder – 4′
Murray Adaskin (b. 1906) – Two Pieces for Solo Viola da Gamba (1972) – viola da gamba – 9′
Louis Andriessen (b. 1939) – Ende (1981) – recorder – 2’
György Ligeti (1923-2006) – Continuum (1968) – harpsichord solo – 5′
Moritz Eggert (b. 1965) – Ausser Atem (Breathless) (1995) – recorder – 7’
*Linda Catlin Smith (b. 1957) – Grey Broken (1982) – soprano, flute, harpsichord – 11′
*Anonymous (Music from New France, early 18th century) – Motet a voix seule au St Sacrement – 5′ (soprano alone)
*Peter Hannan (b. 1953) – Trinkets of Little Value (1986, rev. 2016) – soprano, flute, recorder, violin, gamba, harpsichord – 20′
Alexander Weimann is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After travelling the world with ensembles such as Tragicomedia, Cantus Cölln, the Freiburger Barockorchester, Gesualdo Consort and Tafelmusik, he now focuses on his activities as Music Director of the Pacific Baroque Orchestra in Vancouver, Music Director of the Seattle Baroque Orchestra, and regular guest conductor of ensembles including the Victoria Symphony, Symphony Nova Scotia, Arion Baroque Orchestra in Montreal and the Portland Baroque Orchestra.
Alex was born in Munich, where he studied the organ, church music, musicology (with a summa con laude thesis on Bach’s secco recitatives), theatre, mediæval Latin, and jazz piano, supported by a variety of federal scholarships. From 1990 to 1995, he taught music theory, improvisation, and Jazz at the Munich Musikhochschule. Since 1998, he has been giving master classes in harpsichord and historical performance practice at institutions such as Lunds University in Malmö, the Bremen Musikhochschule, the University of California (Berkeley), Dartmouth College (New Hampshire), McGill University, Université de Montréal, and Mount Allison (New Brunswick). He now teaches at the University of British Columbia and directs the Baroque Orchestra Mentorship Programme there. He has received several JUNO and GRAMMY Award nominations – most recently, for the album Nuit Blanches with the Pacific Baroque Orchestra and Karina Gauvin.
Rodney Sharman lives in Vancouver, BC. He has been Composer-in-Residence with the Victoria Symphony, the National Youth Orchestra of Canada and the Vancouver Symphony Orchestra. In addition to concert music, Rodney Sharman writes music for cabaret, opera and dance. He works regularly with choreographer James Kudelka, for whom he has written scores for Oregon Ballet Theatre, San Francisco Ballet and Coleman Lemieux & Co. (Toronto). Sharman was awarded First Prize in the 1984 CBC Competition for Young Composers and the 1990 Kranichsteiner Prize in Music, Darmstadt, Germany.
His score for the music-dance-theatre piece, From The House Of Mirth, won the 2013 Dora Mavor Moore Award for outstanding sound design/composition (choreography by James Kudelka, text by Alex Poch Goldin after Edith Wharton’s The House of Mirth). He was a 2014 Djerassi Artist-in-Residence, Woodside, California.