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Home  >  Early Music Vancouver Past Events  >  Schubert & Boccherini: Mimosa String Quintet

Saturday, November 1, 2025 | 7:30pmChrist Church Cathedral


Schubert & Boccherini: Mimosa String Quintet

Artists: Christi and Chloe Meyers, violins; Mieka Michaux, viola; Christina Mahler (cello), and special guest from Sweden, Mimé Yamahiro (cello)

Pre-Concert Chat: 07:00pm hosted by David Gordon Duke with members of the Quintet

Runtime: Approximately 100 min + 20 min interval

Franz Schubert’s final chamber work, the String Quintet in C major is often described as having “bottomless pathos” and regarded as one of the greatest chamber music compositions. Boccherini’s mastery of string writing shines in his elegant and dramatic Quintetto Op. 29 No. 6 in G Minor. His Fandango is a vibrant, rhythmically intense work infused with Spanish flair.

Click here for programme notes by Christina Mahler & Mime Yamahiro

Generously sponsored by Birgit Westergaard & Norman Gladstone


PROGRAMME

Luigi Boccherini (1743-1805)
String Quintet in G minor, opus 29, no. 6

Allegro moderato assai

Minuetto

Preludio adagio

Rondo

Interval

Franz Schubert (1797-1828)
Cello quintet. C major D 956

Allegro ma non troppo

Adagio

Scherzo presto – trio andante sostenuto

Allegretto

Christi Meyers, violin

Christi Meyers has had a prominent role in the musical life of Victoria, BC for almost 15 years. Assistant Concertmaster of the Victoria Symphony since 2001, she has also been active playing in musical organizations locally such as the Galiano Ensemble, Odyssey String Quartet and away, for the Vancouver Symphony, Sinfonia Rotterdam (NL) and the European Camerata (UK).

She has also nurtured her love of baroque violin playing as a member of the Victoria Baroque Players, performing also with Pacific Baroque Orchestra and on numerous projects with Early Music Vancouver. As an educator, she coaches the violins of the Greater Victoria Youth Orchestra, maintains a small private studio, and was on the music faculty at the University of Victoria from 2005-10. Christi has recorded chamber music for both CBC radio and television and can be heard on baroque recordings for ATMA (QB) and Marquis (ON). Born in Montreal and raised in Grande Prairie, Alberta, she holds degrees from McGill, Western, and the Vancouver Academy of Music, where she studied with Gwen Thompson and Sonia Jelikova.

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Chloe Meyers | Sponsored by Jill Bodkin, violin

Violinist Chloe Meyers performs with early music ensembles across North America as leader, orchestra member, and chamber musician. She is the concertmaster of the Pacific Baroque Orchestra in Vancouver and co-concertmaster of Arion Baroque Orchestra in Montreal. She has led or appeared as soloist with groups including the Victoria Baroque Players, Pacific MusicWorks, Ensemble Les Boréades, the Theatre of Early Music, Ensemble Masques, and Les Voix Baroques, of which she was a founding member. She has had the pleasure of sharing the stage with international violin stars, performing double concerti with Stefano Montanari, Enrico Onofri, Amandine Beyer, and Cecilia Bernardini. Chloe’s playing may be heard on many award-winning disks, including the 2022 Juno award winning recording “Solfeggio”… in which she leads the orchestra L’Harmonie des Saisons as concertmaster. In 2023 she was nominated as Best Musical Director for her work in Pergolesi’s Stabat Mater with the Edmonton Opera.

Alongside Chloe’s passion for performance and directing, is her love of teaching. As adjunct professor at the University of British Columbia, she trains young artists in the Baroque Orchestra Mentorship Program, chamber music and solo lessons. She has years of teaching children, university and students of all ages and levels! She is an active teacher in the summer Victoria Conservatory teaching programs, as well the UVic Collegium orchestral program.

Chloe lives in Ladner, BC, with her ever growing family and dog.

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Mieka Michaux, viola

Originally from Victoria, B.C. Mieka enjoys an active career as an orchestral and chamber musician performing on both modern and baroque viola and violin. She completed a Bachelor of Music degree in 1998 and, in 200, obtained a Master of Music at Rice University in Houston, Texas. She has studied and performed at the Music Academy of the West, the Banff Center for the Arts, Orford Center for the Arts and the National Youth Orchestra of Canada. Currently, Mieka is a member of the Victoria Symphony and since 2010 she regularly performs with the Pacific Baroque Orchestra. She is also a founding member of the Victoria Baroque Players.

In 2006, along with three colleagues from the Victoria Symphony, she co-founded the Emily Carr String Quartet. The quartet’s debut CD Hidden Treasure was nominated for Classical Recording of the Year by the Western Canadian Music Awards. 

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Christina Mahler, cello

Dutch cellist Christina Mahler immigrated to Canada in 1981 to serve as principal cellist of the Tafelmusik Orchestra, a position she held until June of 2019. Reviews often praise her rich sound, energetic playing, and insightful musicianship. Christina has played and recorded numerous concertos with Tafelmusik, including works by Boccherini, Haydn, Vivaldi, C.P.E. Bach, and Leonardo Leo. She is very fortunate to own a beautiful baroque cello made by José Contreras, the “Stradivarius” of Spain. Christina is a very devoted and gifted teacher, and students have come from around the world to study with her, not only through the Tafelmusik Summer and Winter Institutes, but also at the University of Toronto and in her private studio. After 38 years as principal cellist of Tafelmusik, Christina has moved to Victoria where she is focusing on chamber music, teaching and pursuing her hobbies, such as pottery.

Mime Yamahiro, cello

Mimé Yamahiro Brinkmann is one of the most active freelance cellist/gambist playing both as soloist, and as chamber and orchestra musician in the early music field.

After receiving a Performance Diploma on modern cello at Toho Gakuen School of Music Tokyo, Japan, she received a scholarship from The Netherlands government and came to study historical performance, both cello and viola da gamba at The Royal Conservatory in the Hague where she graduated with a soloist diploma.

Mime has been the prize winner of some of the most important early music competitions such as “Musica Antiqua Brugge Soloist Competition” in Belgium and “The international competition for original string instruments” in Brescia, Italy.

Her performance can be heard regularly in different parts of the world – both as a solo recitalist and with some of the world leading orchestras such as Tafelmusik Baroque Orchestra (Canada), Apollo’s Fire-Cleveland Baroque Orchestra (USA), Concerto Copenhagen (Denmark), Drottningholm Slott Opera orchestra and ensemble (Sweden), and the Paul Hillier Ensemble (Denmark).

In between her busy touring life, Mime enjoys teaching at The Royal Academy of Music in Stockholm. She has also given master classes at Early Music Festival Juiz de Fora, Brazil, Tchaikovsky Conservatory Moscow, Russia and enjoys working with the promising next generations.

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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.)