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Home  >  Education & Community  >  FREE EVENTS

FREE EVENTS


Green College: Cultures of Performance

A series of free public performances by professional musicians in the intimacy of the Green College Coach House.


Frescobaldi in the North: Transmission of the Stilo Nuovo by Keyboardists in Amsterdam and Hamburg

Thursday, March 12, 2026 | 5:00 pm, with reception to follow.

Coach House, Green College, UBC and livestreamed.


Artist: Abraham Ross, organist, harpsichordist, and conductor

Abraham Ross enjoys an active career as a concert organist, harpsichordist, and conductor, presenting imaginative programs informed by the most recent research on performance practice, technology, and musicological research. A recent graduate of McGill University, he received a grant from the Fonds de Recherche du Québec for his doctoral thesis on contrapuntal organ improvisation and arrangement practices in early modern Italy. In addition to solo concerts throughout North America, Abraham enjoys collaborating regularly with ensembles and artists of diverse disciplines, and regularly features with groups such as Les Goûts Réunis (Montreal) and Resonance Collective (Los Angeles).

Programme

A new style of expressive musical pictorialism marked the dawn of the Baroque in Italy, where composers sought above all to transport the listener to a state of intensified emotion by means of musical rhetoric and narrative. Gradually, composers such as Girolamo Frescobaldi brought these ideals to the context of instrumental music, printing their virtuosic solo works for a readership that extended as far as Hamburg (where Italian works were copied by Dutch composer Jan Pieterszoon Sweelinck’s students). In this event, Abraham Ross will examine the transmission of Frescobaldi’s style through the lens of organists and harpsichordists in Northern Europe, considering implications for both compositional style and performance practice.


For over seven years, EMV has offered an annual series of free lecture demonstrations at Green College at UBC, related to our season programming and designed to inform and grow our audience base. These events have been increasingly well-attended and have stimulated a dialogue between the organization and the local community regarding the wider context of our activities in the community. Early Music Vancouver has had a strong relationship with Green College since 1993, offering courses throughout the years and summers.

Dr. Emma Cunliffe

Dr Emma Cunliffe is a professor in the Allard School of Law and served as the Director of Research and Policy for the joint Federal-Nova Scotia Mass Casualty Commission. She is the fourth principal of Green College.

In her academic work, Dr Cunliffe studies how courts decide the facts of contested cases. She is particularly interested in expert evidence, the operation of implicit bias, and legal processes regarding gendered and racialized violence, particularly those regarding Indigenous people. Dr Cunliffe is a member of the evidence-based forensic initiative, which is based at the University of New South Wales (where she is a senior visiting fellow). Her 2011 monograph Murder, Medicine and Motherhood (Hart: Oxford, 2011) provided a comprehensive evaluation of the wrongful conviction of Australian mother Kathleen Folbigg. This book led to a review of Ms Folbigg’s case and eventually, contributed to her receiving a free pardon in June 2023.

With funding from SSHRC, Dr Cunliffe is presently analyzing how facts are “found” in Canadian trials, inquests and commissions of inquiry that engage with gendered and racialized violence. She is particularly investigating whether expert knowledge (such as forensic medicine and psychiatric testing) operates as a Trojan horse by which discriminatory knowledge and beliefs reinforce implicit and structural biases within the legal system. She is also studying examples of legal processes in which discriminatory beliefs are successfully countered. Her major work in progress is a monograph, Judging Experts. This book will explore examples of judicial engagement with expert evidence to assess how effectively Canadian legal processes ensure that expert witnesses provide independent and reliable expert testimony. Dr Cunliffe’s work is predicated on a careful analysis of trial transcripts and court records such as expert reports. She also compares experts’ work in legal cases against the research base of fields such as forensic pathology.

At the Mass Casualty Commission, Dr Cunliffe and her team were responsible for all research and policy aspects of the Commission’s work, including commissioning expert reports, planning and facilitating policy roundtables, consulting with differentially affected communities and producing an environmental scan of past inquiry reports and recommendations on matters within the Commission’s mandate. She also played an integral role in the preparation of the Commission’s Final Report.

Dr Cunliffe’s contributions to research and teaching have been recognized, including in the 2016 Courage in Law Award given by the Indigenous Law Students Association at UBC, a UBC Killam Research Fellowship (2014), the Killam Award for Teaching Excellence (2010) and the George Curtis Memorial Award for Teaching (2010).


St. Anselm’s Music Series

EMV is proud to present a series of intimate concerts at St. Anselm’s Church made possible by the generous support of the Drance Family. Each concert is followed by a small reception where audience members can engage with the musicians. Concerts are all admission-by-donation. Click here to see upcoming performances.

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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.)