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Home  >  Early Music Vancouver Past Events  >  Members of Constantinople – The Golden Road

Members of Constantinople – The Golden Road

Saturday, November 18, 2023 | 7:30 p.m.Kay Meek Arts Centre


Artists: Homayoun Sakhi, rubab; Shashank Subramanyam, flute; Kiya Tabassian, setar; Hamin Honari, tombak

The Golden Road takes us on the sublime and sophisticated musical roads of ancient civilizations. Four music masters from Afghanistan, India and Iran come together to transcend the ancestral melodies from these rich and influential cultures. These three musical traditions have always evolved in a relationship of confluence and exchange, but have rarely been heard side by side. The great ambassador of Afghan music Homayoun Sakh, an incomparable virtuoso of the rubab lute, performs alongside Shashank Subramanyam, hailed one of the best bamboo flute artists by the Indian and international media. They are joined by Kiya Tabassian, setar, and percussionist Hamin Honari on tombak & daf. 

There will be a pre-concert talk at 7 p.m. with Kiya Tabassian hosted by Alexander Varty.

Run time: 75 minutes, no intermission

This concert is generously sponsored by Marianne Gibson

Please note: The Golden Road is excluded from our subscription ticket offer.


Kiya will introduce his programme from the stage in place of a programme and programme notes.

Homayoun Sakhi, rubab

Homayoun Sakhi is the most outstanding Afghan rubâb player of his generation, a brilliant virtuoso endowed with charismatic musical presence and personality. Born in Kabul into one of Afghanistan’s leading musical families; from the age of 10 he studied the rubâb - a double-chambered lute and the national instrument of Afghanistan. In 1992 he and his family moved to Peshwar, Pakistan seeking refuge from the war that racked his country. There he quickly became a popular entertainer performing on radio and television alongside many of Pakistan’s well-known singers and musicians. In 2001 he moved to Fremont, CA in the US - a city known for its large Afghani community. There he quickly established himself as a teacher, performer and composer. He has created works for the Kronos Quartet and the Berlin Philharmonic Orchestra and regularly collaborates with celebrated musicians such as Yo Y Ma and Ustad Farida Mahwash. 

https://www.homayounsakhi.com

Shashank Subramanyam, flute

Shashank Subramanyam began performing for the general public at the age of six. Trained by his father Subramanyam and vocal legends R.K. Srikantan, K.V. Narayanaswami and Pandit Jasraj, he is presently considered one of the best bamboo flute artists - hailed by Indian and international media alike. With more than 30 years of a successful career in the field of Indian Classical Music, Mr. Subramaniam has collaborated with many legendary musicians from India and around the world including guitarist John McLaughlin and tabla master Zakir Hussain. He has enthralled audiences in more than 50 countries. In 2009 he received a Grammy nomination. Other honours include ‘A Top’ ranking by All India Radio and TV, ’Kalaimamani’ from the Government of Tamil Nadu (2001), ’Kuzhal Arasar’ from Kellogg School of Management, to name a few. Mr. Subramaniam has more than 65 CDs and several DVDs to his credit. https://constantinople.ca/en/musiciens/shashank-subramanyam-2/

 

Kiya Tabassian, setar

In 1990, at age 14, Kiya Tabassian emigrated with his family to Quebec from his native Iran, bringing with him some initial musical training in Persian music. Determined to become a musician and composer, he continued his education in Persian music, studying with Reza Gassemi and Kayhan Kalhor. At the same time, he studied composition at the Conservatoire de musique de Montréal with Gilles Tremblay. In 1998, he co-founded Constantinople with the idea of developing an ensemble for musical creation that draws from the heritage of the Middle Ages and the Renaissance, of Europe, and of the Mediterranean and the Middle East. Serving as its artistic director, Kiya has developed close to 40 programs with Constantinople. Numerous musical groups and institutions have called upon his talents as a composer, including the Orchestre symphonique de Montréal, the Nouvel Ensemble Moderne and the European Broadcasting Union. He has also composed music for documentary and feature films, including Jabaroot and Voices of the Unheard. Since the summer of 2017, he has held the post of Associate Artist at Rencontres musicales de Conques festival in France. In 2017 he co-founded the Centre des musiciens du monde in Montreal. Kiya also sits on the Board of Conseil des arts et des lettres du Québec.

Hamin Honari, tombak

Hamin Honari is a highly acclaimed percussionist from Iran, known for his unique and inventive approach to Persian music. Born in Zahedan, Mr. Honari comes from a family of musicians – his father and grandfather being prominent figures in the local music scene.He started his musical education at an early age, learning how to play the tombak, a traditional Persian hand drum, from Ramin Bahrami. He quickly developed a deep passion for percussion and began exploring a variety of rhythms and styles, both within and beyond Persian music. He has been an active participant in the dynamic music scene of Vancouver, performing with various ensembles and collaborating with musicians from diverse backgrounds.

His music blends traditional Persian techniques and rhythms with elements of jazz, classical, and other genres. Mr. Honari is renowned for his captivating live performances, characterized by a powerful and dynamic playing style paired with his ability to emotionally connect with audiences. His work has helped to promote and introduce the rich and vibrant tradition of Persian music to audiences around the globe. He has released several albums showcasing his innovative and boundary-pushing approach to percussion and composition.

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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.)