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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
Click here for information about parking around / transiting to Christ Church Cathedral
*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 traveling the world with ensembles like Tragicomedia, and as frequent guest with 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.
Weimann was born in 1965 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, Weimann 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 and the Bremen Musikhochschule, and at North American universities such as The University of California in Berkeley, Dartmouth College in New Hampshire, McGill University, Université de Montréal, and Mount Allison in New Brunswick. Since 2007, he has conducted several acclaimed opera productions at the Amherst Early Music Festival. He now teaches at the University of British Columbia and directs the Baroque Orchestra Mentorship Programme there.
A multiple JUNO and GRAMMY nominee, Weimann can be heard on some 100 CDs. Highlights include an Opus and JUNO award-winning CD of Handel oratorio arias with soprano Karina Gauvin, a recording of Bach’s St. John’s Passion with Les Voix Baroques/Arion Baroque Orchestra, a JUNO nominated recording of Handel’s Orlando with the Pacific Baroque Orchestra that was also awarded a Gramophone Editor’s Choice award, and most recently, the JUNO-nominated 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.