This is SNB's chamber music series featuring music for string quartet and wind ensemble in Saint John, Fredericton, and Moncton.
Saturday, May 3, 2014 in Moncton, St John's United 7:30 PM
Wednesday, May 7, 2014 in Fredericton at St. Thomas University
Music Recital Room 101, McCain Hall
‘Air’ from Air and Jig K. Smith
Cello Suite no. 1 J.S. Bach
Sonatine for flute and clarinet A. Jolivet
ii. Quasi Cadenza
Sketches of China for oboe and bassoon M. Curtis
Divertimento in D M. Haydn
iv. Siciliano. Andante
vi. Finale. Prestissimo
Quintet P. Taffanel
i. Allegro con Moto
About the Players and the Concert
Surprised by Ventus Machina
There are many surprises in this concert. Just when you have become familiar with the Wind Quintet sound. The group deconstructs the parts of the Quintet for closer examination and then puts it back together again for one of the best known pieces of Quintet Repertoire.
You will hear works by Back, Jolivet, Curtis, Haydn and Taffenel played by
Ventus Machina and various subsets thereof. There is also a surprise in personnel as Nicolas Tremblay steps in to replace Jean-Guy Boisvert, who is on sabbatical .
The undeniable chemistry between the members of Ventus Machina is apparent in their flexible and unique style of performance. Each from vastly different geographical and cultural backgrounds, the five musicians use a common musical language that transcends the need for words.
Formed in 2011 as a joint project between Symphony New Brunswick and l’Université de Moncton, the Ventus Machina woodwind quintet has enjoyed a warm welcome from audiences all over New Brunswick. Through their educational outreach performances and workshops the quintet reaches over 10,000 students each year, and has expanded their scope to include the exciting new summer program, the “Wind Masters’ Workshop” which was launched in July 2013. Besides looking forward to upcoming appearances in Dalhousie, UdeM and Mount Allison University, Ventus Machina is regularly featured on Symphony New Brunswick’s popular ‘Virtuoso Series’; this season in November 2013, and in both March and May 2014. Please visit SNB’s website for details.
The members of Ventus Machina are: Karin Aurell, flute - originally from Sweden and contributing a wealth of orchestral and chamber music experience; Christie Goodwin, oboe – born and raised in central Alberta, this Prairie girl has played with orchestras and chamber music groups across the country; Jean-Guy Boisvert, clarinet – our resident professor (UdeM) with a long history of performance and recording expertise; Ulises Aragon, horn – a soloist and all-round superstar transplanted from Venezuela’s famous Simon Bolivar Orchestra; Patrick Bolduc, bassoon – bringing a little Quebecois ‘joie de vivre’ plus a wide range ofperformance experience, Patrick contributes to the forward momentum and energy of the entire group.
La chimie entre les membres de Ventus Machina est apparente par leur jeu flexible et leur style unique. Chacun d’une région et culture très différentes, les cinq musiciens utilisent un langage commun qui n’a pas besoin de mots.
Formé en 2011 en partenariat avec Symphonie Nouveau-Brunswick et l’Université de Moncton, le quintette Ventus Machina a reçu un accueil chaleureux à travers le Nouveau-Brunswick. Par l’intermédiaire de leurs concerts éducatifs et cliniques scolaires, les membres du quintette rejoignent chaque année près de 10 000 élèves et viennent de lancer, en juillet 2013, l’Atelier Maîtres des Vents. Cette saison, en plus de leurs concerts à Dalhousie, Université de Moncton et Mount Allison University, Ventus Machina sera encore une fois une tête d’affiche de la populaire série Virtuoso de Symphonie Nouveau-Brunswick (novembre 2013, mars 2014 et mai 2014). Visitez le site de SNB pour tous les détails.
Karin Aurell, flûtiste originaire de Suède, possède une grande expérience orchestrale et de musique de chambre. Christie Goodwin, hautboïste, la « fille des prairies » du groupe, a joué avec plusieurs orchestres et ensembles de chambre à travers le pays. Jean-Guy Boisvert, clarinettiste, est le professeur en résidence du groupe (UdeM) et amène avec lui une vaste expérience d’interprétation et d’enregistrement. Ulises Aragon, corniste, est un soliste et superstar arrivé du Venezuela, où il a joué avec le Simon Bolivar Orchestra. Patrick Bolduc, bassoniste, amène au groupe une expérience musicale diversifiée et une « joie de vivre » québécoise qui infuse au groupe une énergie particulière
Welcome to Nicolas Tremblay, clarinet:
Une vie toute tracée par des sillons musicaux, Nicolas commence son parcours artistique en Estrie à l'âge de 7 ans avec le violon et le piano. Il occupe à 18 ans le poste de première clarinette de l'OSJS, puis est invité à se joindre à l’Orchestre Symphonique de Sherbrooke comme clarinette solo sous la direction de Stéphane Laforest. Nicolas entreprend ses études universitaires auprès du regretté Emilio Iacurto à l’université McGill, puis complète son baccalauréat avec le clarinettiste André Moisan à l'Université de Sherbrooke au cours duquel il est invité à enregistrer le Quatuor pour la fin du Temps d'Olivier Messiaen pour Radio-Canada. Puis, son cheminement artistique le mène aux États-Unis où il étudie avec le réputé clarinettiste canadien James Campbell à l’Université de l’Indiana à Bloomington qui lui accorde deux bourses d'études. De retour au Canada, Nicolas enseigne la clarinette à l'École franco-ontarienne De Lasalle et à l'Université Carleton, puis la pédagogie de la clarinette à l'université d'Ottawa. Chambriste dévoué, il fut également membre fondateur, clarinettiste et hôte pour la série de concerts de l’ensemble Prisme, et se produit avec de nombreux artistes accomplis tels que les sopranos Shannon Mercer, Monica Whicher et les pianistes Frederick Lacroix, Andrew Tunis et Paul Stewart. Homme aux talents multiples, il prend la baguette de chef d'orchestre en 2008 et assure la direction musicale et artistique de l'Orchestre symphonique des jeunes de l'Outaouais. Concertiste d'expérience dans plusieurs avenues artistiques, Nicolas a eu la chance au fil des ans de se produire avec de nombreux ensembles dont l’Orchestre Symphonique de McGill, l’Orchestre de Chambre de l’Estrie, l'Ensemble Camerata, le groupe contemporain Fusion, l’Orchestre Symphonique d’Ottawa et l’OCNA.
A life born of music, Nicolas began his artistic journey in the Eastern Townships at age 7 playing violin and piano. At 18, he was first clarinet of the Sherbrooke Youth Symphony and later invited to play as principal clarinet of the Sherbrooke Symphony under the direction of Stéphane Laforest. He began his university training with the late Emilio Iacurto at McGill University, and later completed his Bachelor’s degree at Sherbrooke University with clarinetist André Moisan. The following year, he was invited to record for Radio-Canada playing the Quartet for the end of Time by Olivier Messiaen. Nicolas' musical path took him to the United-States where he obtained his Masters degree with renowned Canadian soloist James Campbell, upon receiving two grants from Indiana University in Bloomington. Back in Canada, Nicolas taught the clarinet at De LaSalle high school, Carleton University and clarinet pedagogy at Ottawa University. A devoted chamber player, he was also founder, clarinetist and host for the Prism Ensemble, and played alongside many accomplished musicians such as sopranos Shanon Mercer, Monica Whicher and pianists Frederick Lacroix, Andrew Tunis and Paul Stewart. A man of many talents, Nicolas took up the conductor's baton and became musical and artistic director of the Outaouais Youth Orchestra in 2008. Having numerous concerts under his belt, Nicolas has had the chance to play with ensembles such as the McGill Symphony, l’Orchestre de Chambre de l’Estrie, the Camerata Ensemble, the Fusion contemporary music ensemble, the Ottawa Symphony and the National Arts Center Orchestra. Recently re-located to New Brunswick, Nicolas presently teaches for Sistema NB in Moncton, is coach for winds and clarinets of NBYO, and is a founding member of the Tutta Musica ensemble. Nicolas also works as a professional musician in the Maritimes region.
For special contest and ticket offers go to the Ventus Machina Facebook page https://www.facebook.com/VentusMachina
Saint John String Quartet
Saturday, April 12, 2014 in Moncton, St John's United at 7:30PM
Sunday, April 13, 2014 in Saint John, Saint John Arts Centre at 2PM
Wednesday, April 16, 2014 in Fredericton, Memorial Hall, UNB at 7:30PM
Saint John String Quartet
David Adams & Danielle Sametz, Violins
Christopher Buckley, Viola
Sonja Adams, Cello
W.A. Mozart String Quartet in G Major K.387 ‘Spring’
Allegro vivace assai
M. Kutnowski Peter Emberley’s Dream
F. Schubert String Quartet in D minor D.810 ‘Death and the Maiden’
Andante con moto
Scherzo allegro molto
W.A. Mozart String Quartet in G Major K.387 ‘Spring’
Composed during 1782 in Vienna, Mozart’s String Quartet K.387 marks the first of six such quartets written in honour of his contemporary Joseph Haydn, generally considered to be the father of string quartet form. Haydn had, in the space of only a few years, elevated the string quartet from a relatively new medium to a point where it would ultimately be recognized as one of the most challenging of all forms of composition, exemplified in his own Op.33 set of six string quartets published in 1781. It was during this year that Mozart settled in Vienna, first meeting Haydn and forming a close friendship with him based on their mutual admiration for each other. Their combined output of these twelve aforementioned string quartets would mark the first great watershed of Viennese Classical chamber music.
The first movement, written in Sonata form, features intricate instrumental writing, frequent dynamic contrast and heavy chromaticism for the period. This characterizes themes in the other movements as well and suggests an artistic unity to the quartet as a whole, a very progressive concept in early string quartet history. The main theme in this movement is gracefully light and, for all its complexity and considerable expressive depth, is quite easy for the listener to engage with. The development has the feel of an operatic recitative, beginning ponderously before finding a more animated and serious voice. A more fully realized and elaborate exploration of the main thematic material concludes the movement in delightful style.
Mozart breaks with convention by placing the Minuet second in proceedings rather than as the quartet’s third movement. It employs distinctive note-to-note dynamic contrast and a jerky chromatic climb upward in its opening, hinting perhaps at the future of the Scherzo genre. The Trio descends into a gruff G minor opening with all four players in a striking unison, its continued chromaticism and dynamic contrast now contributing towards a darker tension for the first time in the quartet.
The Andante Cantabile third movement conveys the quality of a serene and exquisite song. As the movement unfolds it becomes a soaring and radiant example of polyphony, four independent threads interwoven so that no single melody remains memorable but rather the greater sense of a sustained harmonic splendour.
The Allegro Molto finale bounds with energy and colour. Its strong themes are presented contrapuntally for much of the movement, a highly innovative technique and an important historical milestone which marks the beginning of a progression to the fully matured Classical style. The main material bounds with energy, colour and exciting complexity, in slight contrast to a more playful, though equally lively, alternate theme. For all its drive and shimmering grandeur Mozart teasingly avoids a mighty conclusion, instead opting for a delicate restatement of the movement’s first fugato theme along with a three note tail, tying up the quartet in a blissful perfect cadence.
M. Kutnowski Peter Emberley’s Dream
Martin Kutnowski is a composer, music theorist and writer currently serving as Director of Fine Arts at St. Thomas University in Fredericton. His music often fuses folk, world and classical styles and has been performed on four continents including noted venues such as Carnegie Hall in New York, Wigmore Hall in London, Izumi Hall in Osaka, and Teatro Colón in Buenos Aires. He has received numerous awards from the National Endowment for the Arts of Argentina, Canada Council for the Arts, Arts New Brunswick, Fulbright and ASACP among others.
Notes from the composer:
Peter Emberley’s Dream is inspired by The Ballad of Peter Amberley, one of the oldest English folk songs in New Brunswick. Peter Amberley was a nineteen-year-old man from Prince Edward Island who (approximately) in 1880 went to work on the lumber woods in Boiestown, Miramichi, but died crushed by a log. The story inspired a song known to woodsmen all over North America; it speaks of the yearnings and desires of the heart when one is young and passionate. The piece was commissioned by The Rivers School Conservatory, Weston, Massachusetts.
F.Schubert String Quartet in D minor D.810 ‘Death and the Maiden’
Although it remained unpublished until three years after the composer’s death, Schubert’s String Quartet in D minor D.810, usually referred to as Death and the Maiden, soon after became an essential pillar of the chamber music repertoire. Composed in 1824, whilst Schubert suffered ill health, poverty and depression, the work never escapes a clear association with the theme of death and is very much the composer’s ode on the subject. The quartet is characterized by dramatic, sudden and often violent shifts in style and mood, united by an almost relentless sense of foreboding.
The first movement Allegro opens with a striking and powerful unison between the players and in its introduction establishes the elements which will carry throughout it, notably a triplet motif which becomes a recurrent and driving feature for the entire work. Many violent mood shifts and an unrelenting tension, even in the slower chorale passages, race towards a conclusion of resignation, the triplet motif heard again as the movement dies away on a D minor chord.
The quartet takes its name and inspiration from a setting for voice and piano of Matthias Claudius’ poem of the same name which Schubert wrote in 1817. In it The Maiden begs to be spared whilst Death tries to persuade, the translated text of which reads:
Away! Ah, Away! Thou cruel man of bone!
I am still young. Go, instead.
And do not touch me!
Give me thy hand, you fair and tender creature,
I'm a friend, and do not come to punish.
Be of good courage; I am not cruel
You shall sleep gently in my arms
The song forms the basis of the quartet’s Theme and Variations second movement Andante con Moto, though is realized with a greater intensity and at times a distinctly urgent tone, perhaps reflecting the urgency which Schubert felt given his own declining health and the very personal dimension which the work now held for him.
A dramatic and fast paced Scherzo Allegro Molto is the third movement of the quartet. In the form of classical minuet the brief Trio section gives the entire work its only real respite from an otherwise vigorous pace, an elegant melody heard in the lower voices whilst the first violin accompanies above.
The finale of the quartet, Presto, is brought about in the form of a Tarantella, a frenzied Italian folk dance thought to have originated as an emergency remedy against the supposed hysterical symptoms and eventual death brought on by the bite of a Tarantula spider. The main theme of the movement begins in unison with a dotted figure lurching rhythmically here and there, with characteristically sudden changes in dynamics, before eventually giving way to a second chorale-like theme, more grandiose and broader in feel, incorporating motifs from earlier movements such as the opening triplet motif. A complex third section featuring convoluted harmonies and offbeat rhythms throws away any clear sense of downbeat and adds greatly to the growing sense of anxiety and unease before leading in to a recapitulation of the movement’s second and main themes. There is a brief suggestion of hope and perhaps even triumph as the key of D major is reached at the beginning of the coda, but a series of breakneck runs and two final emphatic chords ultimately dash any such notion and bring the work to its tragic conclusion.
Tickets at the door or at the Capitol/Imperial/Playhouse
Adults: $25 Students $10
Group rates available: call 506 634 8379
featuring Ventus Machina, Wind Quintet
Ventus Machina's Spring 2014 program, entitled 'Legends and Fairytales', is an entertaining (and educational) romp through stories from regions around the world. Including music from Ravel's 'Mother Goose Suite' and Grieg's 'Peer Gynt' arranged for woodwind quintet, and featuring a newly-composed work by Richard Gibson which sets music to some of New Brunswick's most famous Acadian legends, this program is fun, light, and family friendly. See you there!
Tickets at the door or at the Capitol/Imperial
Adults: $25 Students $10
Group rates available: call 506 634 8379
Saint John, Saint John Arts Centre at 2 pm
Sunday, November 3 SJSQ: Remembrance
Sunday, November 17 Introducing: Ventus Machina
Sunday, December 8 SJSQ: Classic Expressions
Sunday February 9 SJSQ: Strings and Reeds
Sunday, March 23 Ventus Machina: Legends
Sunday, April 13 SJSQ: Splendid Sonorities
Moncton/Dieppe, Saint John United at 7:30 pm
Saturday, November 16 Introducing: Ventus Machina
Saturday, December 7 SJSQ: Classic Expressions
Saturday, February 8 SJSQ: Strings and Reeds
Saturday , March 22 Ventus Machina: Legends
Saturday, April 12 SJSQ: Splendid Sonorities
Saturday, May 3 Ventus Machina: Surprises
Fredericton, Christ Church Cathedral at 7:30 pm
Wednesday, November 6 SJSQ: Remembrance
Wednesday, November 20 Introducing: Ventus Machina
Wednesday, December 4 SJSQ: Classic Expressions
Wednesday, February 12 SJSQ: Strings and Reeds
Wednesday, April 16 SJSQ: Splendid Sonorities
Wednesday, May 7 Ventus Machina: Surprises
Sadly, Laurissa Chitty will be leaving the SJSQ and SNB..... BUT.....That means that every Virtuoso concert will have a different second violinist...AND....Wouldn't you like to see/hear each one and tell us what you think?
Symphony New Brunswick is so proud to welcome Ventus Machina to the Virtuoso Series. Check out their facebook page
Tickets at the door ( $25 adults; $10 students)
Children under 12 free
contact: email@example.com or 506 634 8379