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  • About
    • Who is Early Music Vancouver
    • What is Early Music?
    • OUR INSTRUMENT COLLECTION
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    • Annual General Meeting 2025
    • 2024/25 Annual Report
  • Pacific Baroque Orchestra
    • August 7 | Vivaldi’s The Four Seasons
    • October 17 | A Little Night Music with Mozart 
    • December 20 | Festive Cantatas
    • March 25, 2027 | Handel’s La Resurrezione
  • EVENTS
    • Summer Festival 2026: The Power of Music
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Home  >  Support Us

Support Us

Support Us

WHY SUPPORT EMV?

Founded in 1970, Early Music Vancouver is one of the oldest and most successful organizations of its kind in North America. Having taken over administrative management of the Pacific Baroque Orchestra in 2016, EMV is now known not only as a presenter of world-class early music performances, but as a regional producer as well. We present and produce between an average of 40-50 concerts per year in the Vancouver area, and tour regionally with the PBO. Our interest in collaboration and the development of regional early and baroque musicians has cemented our place as one of the leaders of the early music movement.

EMV embraces both the traditional tenets of early music, and the contemporary ideals that have shaped the movement. With one foot planted in the past and one foot planted in the future, EMV delivers some of the highest quality classical music performances in the Pacific Northwest, all within an historical context. EMV is creatively innovative, historically conscious, and fiscally responsible. As such, the organization has seen immense and encouraging growth over the last few years. Private donations account for roughly one third of EMV’s annual income, which is used to further this mandate.


Ways to get involved

DONATE TO EMV DESIGNATED FUNDS

Donations of $10 and up are tax-deductible, and a formal receipt for income tax purposes will be issued. Donations will also be acknowledged in our concert programmes – unless you have indicated that you wish your contribution to remain anonymous. 

Donate to EMV
EMV CONCERT PERFORMANCES
PACIFIC BAROQUE ORCHESTRA
EDUCATION Fund

You may also contact Natalie Rostov, Audience Development Manager for assistance:
Early Music Vancouver, 1254 W 7th Ave, Vancouver, BC V6H 1B6
Office: 604-732-1610 Email: natalie@earlymusic.bc.ca

Donations of $10 and up will receive an official tax receipt for income tax purposes within 14 business days.

EMV is a registered charitable organization: Charity BN / Registration # 108167776 RR0001. EMV is a non-profit society registered with the Province of British Columbia S-0008805

 

Legacy Gifts

You can assure the continued health and vibrancy of EMV through one of the most important tools in your possession – your estate plan. Legacy gifts are an expression of your values, wishes and hopes for the future. There are different ways to do this that can create excellent tax advantages

Details…

Corporate Opportunities

You can be in good company too! EMV’s corporate sponsors give back to their community through the support of our performances and education and outreach programmes. Their efforts make a meaningful difference for concert-goers and musicians alike. Our wide range of activities offers unique sponsorship opportunities for both large and small companies to support us while also reaching their corporate goals.

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Volunteer with EMV

The health of any non-profit organisation relies on the support of an enthusiastic body of volunteers. Early Music Vancouver offers many opportunities for those who are willing to get involved.

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Sponsor a Concert

Consort sponsorships start at just $2,500, and include additional benefits that go along with being a concert sponsor. If you would like more information about how to sponsor a concert, contact our Donor Relations Manager, Carmen Murphy (604.732.1610 | carmen@earlymusic.bc.ca)

Host an EMV Musician

Do you have a guest room that often sits empty? Do you enjoy well-educated, articulate house guests from across the country and the world? Do you like Classical music? Would you like to get the ‘inside scoop’ about performing from a professional musician? If your answer to any of these questions is ‘yes’, then we invite you to consider joining the growing number of EMV supporters who house visiting guest musicians.

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Donate Aeroplan Miles

You can support EMV’s activities by donating your Aeroplan Miles through the Aeroplan Member donation program. EMV can directly receive donated Aeroplan Miles while Aeroplan will generously top up any donated points by an additional 10%! Donated Aeroplan Miles will help support travel costs for the musicians we hire in the future and help us purchase other available items, such as hotel bookings and IT products.

1254 W 7TH AVE
VANCOUVER, BC, V6H 1B6

(604) 732-1610
staff@earlymusic.bc.ca

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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.)