How Do We Listen? (Documentary Film):
How Do We listen? Collaborative Communities:
Matteo Ricci: His Map and Music:
Venetia 1500:
Hidden Treasures: the Austrian Habsburgs and the Kroměříž Archives:
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¡Sacabuche! Seventeenth-century Italian Motets
Sacabuche at BFX
Sacabuche in Berkeley
Sacabuche
Programs
How Do We Listen?
How Do We Listen? is an interdisciplinary project that tells the story of sisters Angee and Judie Acquin (Wolastoqew), whose grandmother, Virginia Acquin, and grandmother’s sister Doris were sent to the Shubenacadie Indian Residential School in what is known today as the Province of Nova Scotia. Doris drowned at Shubenacadie. Their grandmother Viginia suffered the long-term effects of her experiences at the Indian Residential School, with the intergenerational effects carried forward to subsequent generations of the Acquin family.
The work employs Indigenous and early European art music, text, live-performed soundscapes, a script, and whisper texts, performed by a team of artists and scholars that includes Angee Acquin (Wolastoq writer and speaker), Hubert Francis (Mi’kmaw singer, drummer, speaker), Judie Acquin (Wolastoq singer, drummer, speaker), Brian Francis (Mi’kmaw, film director and visuals), Linda Pearse (artistic director, Baroque trombonist), Ann Waltner (scriptwriter, speaker), Joel Miller (composer), John Watkins (literary scholar and speaker), and members of the early music ensemble ¡Sacabuche!
The title, “How Do We Listen?” puts the burden of listening on non-Indigenous people, those whose ability to connect meaningfully with Indigenous peoples might contribute to an improved conversation surrounding Indigenous issues and a more nuanced understanding of the Indigenous experience. Listening to stories like that of the Acquin sisters is an important step in understanding the ongoing issues and the legacy of intergenerational trauma of the Indian Residential School experienced by survivors and their families.
Finding Repose: Women’s Voices in New France
Sources documenting women’s voices and ideas in New France are scant, yet the challenge of giving voice to those sources and to women’s complex identities through this program is enticing. Finding Repose explores the experience and perspectives of female voices in New France, integrating sacred and secular music from this period with historical writings and observations. We engage with the voices of two women and one group of women: Catherine Tekakwitha, Marie de l’Incarnation, and les filles de roi (The King’s Daughters), women with diverse biographies, experiences, and who lived in complex cultural, religious, and secular spaces. Their lives tell different stories. Tekakwitha was a Mohawk woman who converted to Christianity, was canonized in 2012, and lived her life as both Mohawk and Christian; Marie de l’Incarnation, following a brief secular time with spouse and child soon entered the convent as an Ursuline nun, founding the first girls’ school in New France; les filles du roi were women sent to New France in the later seventeenth century to promote family, marriage, and ultimately to increase the population, providing the many fur traders and soldiers with spouses. With this program, we aim to tell a different story, a story that includes the perspectives of women and respects the complexity and challenges of cultural interactions during pre-confederation time in New France.
Hidden Treasures: the Austrian Habsburgs and the Kroměříž Archive
The rich tradition of music-making in Austrian and Czech lands during the 17th-century combines an Italianate style with local music traditions. This unique program brings beautiful yet unknown and lesser-known works housed in the archives of the Kroměříž Archive in the Czech Republic (CZ-KRa) and other European libraries to the stage. Vivid writing for voice, violins, cornettos, trombones, and organ colours these stunning works by composers of the mid-seventeenth century in Austria and Czech lands, including Antonio Bertali, Buonamente, Vejvanovsky and anonymous composers. Their music testifies to the rich tradition and opulence of the Habsburg court and its expansive influence. The majority of these works do not exist in modern editions nor in recorded format. As such, this program brings new works to the ears and eyes of modern audiences.
Venetia 1500 with Ann Waltner (Historian) and John Watkins (Literary Scholar)
Take a multi-media walking tour of Venice! “Venetia 1500” is a multimedia performance inspired by the aerial map of Venice from 1500 by Jacopo de’Barbari. The work weaves music, texts and the map in a conversation that offers audience members insight into the cultural landscape of sixteenth-century Venice. The performance explores the gritty and complex world of this glorified city as it faces the new world order. Early music includes that of Italian, Sephardic and Turkish composers. Sensual melodies of the Ottoman empire mix with rapturous sounds of poly-choral music at St. Mark’s. Newly composed music creates a dialogue between present and past. Texts by nuns and priests, poetry by courtesans, and court documents furnish the textual fabric
Italy Invades Poland! – Italian Influences at the 17th-Century Polish Court
Italian innovations in musical style and expression during the late 16th and early17th centuries included a heightened sensitivity to text expression, the better to move the affections of the listener. The new style spread through the courts and musical life of Europe, mixing with local influences. This program highlights this music through works by Luca Marenzio and his Italian colleagues, and showcases the stunning Mazurka-influenced Italian-style instrumental works, and concerted vocal textures of Polish composers Adam Jarzębski, Nicolaus Zielenski, Stanisław Sylwester Szarzyński, and others.
Venetian Influences
Venice was a leading center for the dramatic musical developments at the turn of the 17th century. Its relative independence of the Catholic church in Rome, its cosmopolitan economic and social life, and the affluence of its private citizens and churches created the perfect environment for engagement with the “modern” style. The developments in dramatic music were paralleled in the instrumental idiom—the specification of instruments, the development of virtuosic writing, and the search for expression led to the creation of stunning works for This program explores this repertoire with breath-taking works by Venetian composers like Giovanni Gabrieli, Dario Castello, and Giovanni Legrenzi. It also explores the far-reaching influence that Venetian composers exerted elsewhere in 17th-century Europe with works by Polish, German, and Viennese masters.
Matteo Ricci: His Map and Music with Ann Waltner (Historian)
A multi-media performance reanimating the pivotal cultural exchange between Italian Jesuits and Chinese literati in 17th-century China. This program combines music and dramatic readings, visually framed by a projected digitized version of the world map that Matteo Ricci created and presented to the Wanli Emperor. The repertoire includes Italian and Chinese music of Ricci’s time, as well as collaborative new works written for ¡Sacabuche! by Chinese composer Huang Ruo. Traditional Chinese instrumentalists join ¡Sacabuche!, who perform on Baroque instruments.
Heinrich Isaac: Missa La Spagna in the Village Square
The “Missa La Spagna” is based on a popular dance melody from the early sixteenth century. ¡Sacabuche! presents the mass as it might have been heard in the village square, its movements surrounded by lively secular dance tunes and lyrical motets. Voices with sackbuts, dulcian, recorder and cornetto create sublime textures and provide a unique glimpse into the fascinating world of the Habsburg and Medici courts.
The Glories of Venice and Vienna
This program explores the stunningly beautiful writing of Venetian and Viennese composers at the turn of the seventeenth century. The rich sonorities of both vocal and instrumental textures come alive in the works of Giovanni Gabrieli, Claudio Monteverdi, Heinrich Schütz and Dario Castello. Large-scale vocal works featuring sackbuts, cornettos, and violins are contrasted with virtuosic instrumental solos. It is a feast for the ears, heart and soul.
Photo Gallery
Matteo Ricci in China
Matteo Ricci in China
Christa Patton in Venetia 1500
Venetia 1500
Matteo Ricci in China
Matteo Ricci in China
Venetia Concert in Sackville
Concerts
Oct 4, 2019
How do we listen?, Brunton Auditorium, Mount Allison, NB
Oct 3, 2019
How do we listen?, Bonar Law High School, NB
Oct 2, 2019
How do we listen?, Bonar Law High School, NB
Oct 20, 2018
Finding Repose, Women’s Voices in New France, Martyr’s Shrine, ON
October 22, 2017
Echoes and Refrains-Music for a Reformation, Lutheran Church of Honolulu, Honolulu, HI
October 21, 2017
Echoes and Refrains-Music for a Reformation, Lutheran Church of Honolulu, Honolulu, HI
September 22, 2017
Hidden Treasures: The Austrian Habsburgs and the Kroměříž Archive, Sackville Festival of Early Music, Mount Allison University, Sackville, NB
October 9, 2016
Venetian Influences, Arizona Early Music Society, Tucson AZ
June 5, 2016
Intimate Voices: Seventeenth-Century Italian Motets with Trombones, Berkeley Early Music Festival and Exhibition, Berkeley, CA
April 25, 2016
Matteo Ricci: His Map and Music, Santa Clara Mission Church, Santa Clara, CA
April 22, 2016
Matteo Ricci: His Map and Music, St. Ignatius Church, San Francisco, CA
February 4, 2015
Intimate Voices: Seventeenth-Century Italian Motets with Trombones, Sackville, New Brunswick
September 16, 2014
Splendor of Venice with Houston Chamber Choir, Co-Cathedral of the Sacred Heart, Houston, TX, USA
September 14, 2014
Splendor of Venice with Houston Chamber Choir, First Presbyterian Church, Kingwood, TX, USA
May 8, 2014
Venetia 1500, Best Buy Theater, Northrop Auditorium, Institute for Advanced Study, University of Minnesota, Minneapolis, MN
May 7, 2014
Italy Invades Poland!: Works by Seventeenth-Century Polish Composers, Best Buy Theater, Northrop Auditorium, Institute for Advanced Study, University of Minnesota, Minneapolis, MN
May 5, 2014
Matteo Ricci: His Map and Music, Best Buy Theater, Northrop Auditorium, Institute for Advanced Study, with Ann Waltner (speaker, co-artistic director) and John Watkins (speaker, texts), and Gong Qi (Guzheng), University of Minnesota, Minneapolis, MN
November 3, 2013
Italy Invades Poland!: Works by Seventeenth-Century Polish Composers, Artspring, Salt Spring Island Music Series, Salt Spring, BC
November 2, 2013
Italy Invades Poland!: Works by Seventeenth-Century Polish Composers, Early Music Society of the Islands, Alix Goolden Hall, Victoria, BC
November 1, 2013
Italy Invades Poland!: Works by Seventeenth-Century Polish Composers, Nanaimo Conservatory Music Series, St. Andrew’s Church, Nanaimo, BC
September 29, 2013
Venetia 1500 Premiere, Sackville Performing Arts, Brunton Auditorium, Mount Allison University, Sackville, NB, with Ann Waltner (speaker, co-artistic director), John Watkins, (speaker, texts) and Suzie LeBlanc (soprano)
June 26, 2013
Matteo Ricci: His Map and Music, International Conference of Asia Scholars, Macau, China, with Ann Waltner (co-artistic director, speaker), Qin Fang (speaker), Chen Bo (Sheng) and Gong Qi (Guzheng)
June 24, 2013
The Glories of Venice and Vienna: A Program of 17th-Century Music by Viennese and Venetian Composers, The Hong Kong University of Science and Technology, Hong Kong, China
September 28, 2012
Gallegiante: The Floating City, Sackville Festival of Early Music, Main Street Baptist Church, Sackville NB
September 26, 2012
Gallegiante: The Floating City (preview and presentation about Baroque instruments and performance practice), Music Colloquium, Brunton Auditorium, Sackville, NB
July 12, 2012
Seventeenth-Century Italian Motets, International Historic Brass Symposium, New York, NY
July 10, 2012
Seventeenth-Century Italian Motets, St. Mark’s Church, Long Island, NY
November 27, 2011
The Glories of Venice and Vienna: A Programme of 17th-Century Music by Viennese and Venetian Composers, St. Paul’s Anglican Church, Nanaimo, B.C.
November 26, 2011
The Glories of Venice and Vienna: A Programme of 17th-Century Music by Viennese and Venetian Composers, Alix Goolden Hall, Victoria, B.C.
November 25, 2011
The Glories of Venice and Vienna: A Programme of 17th-Century Music by Viennese and Venetian Composers, Christ Church Cathedral, Early Music Vancouver
July 24, 2011
Matteo Ricci: His Map and Music, Indianapolis Early Music Festival, Glick Indiana History Museum, Indianapolis, IN, with Ann Waltner (co-artistic director, speaker) and Qin Fang (speaker), Yang Yi (Guzheng) and Carrie Chin (Sheng)
June 12, 2011
Matteo Ricci: His Map and Music, Boston Early Music Fringe Festival, Cathedral Church of St. Paul, Boston, MA, with Ann Waltner (co-artistic director, speaker) and Qin Fang (speaker), Yang Yi (Guzheng) and Carrie Chin (Sheng)
April 10, 2011
Matteo Ricci: His Map and Music, University of Iowa, Ames IA, with Ann Waltner (co-artistic director, speaker) and Qin Fang (speaker), Yang Yi (Guzheng) and Carrie Chin (Sheng)
April 9, 2011
Matteo Ricci: His Map and Music, Confucius Institute of Minneapolis, MN, with Ann Waltner (co-artistic director, speaker) and Qin Fang (speaker), Yang Yi (Guzheng) and Carrie Chin (Sheng)
April 9, 2011
The Glories of Venice and Vienna, Institute for Advanced Study, University of Minnesota, Minneapolis, MN, with Stanley Ritchie (violin) and Wendy Gillespie (viola da gamba)
April 8, 2011
Matteo Ricci: His Map and Music, 17th-Century Music Conference, Minneapolis, MN, with Ann Waltner (co-artistic director, speaker) and Qin Fang (speaker), Yang Yi (Guzheng) and Carrie Chin (Sheng)
December 19, 2010
Venetian Influences, Ullens Center for Contemporary Art, with Stanley Ritchie (violin) and Wendy Gillespie (viola da gamba)
December 16, 2010
Venetian Influences, Central Conservatory of Music, Beijing, China, with Stanley Ritchie (violin) and Wendy Gillespie (viola da gamba)
December 15, 2010
Venetian Influences (performance and demonstration), Peking University, Beijing, China, with Stanley Ritchie (violin) and Wendy Gillespie (viola da gamba)
December 15, 2010
Venetian Influences (outreach program for students from several Beijing universities), United States Embassy Beijing, American Center for Educational Exchange, Beijing, China, with Stanley Ritchie (violin) and Wendy Gillespie (viola da gamba)
December 14, 2010
Matteo Ricci: His Map and Music, Renmin University, Beijing, China, with Ann Waltner (co-artistic director, speaker) and Qin Fang (speaker), Chen Bo (Sheng); Gong Xi (Guzheng)
December 13, 2010
Venetian Influences (outreach performance and demonstrations), Changping No. 1 High School, Beijing, China, Contributors: ¡Sacabuche!
December 12, 2010
Matteo Ricci: His Map and Music, Nantang Cathedral, Beijing, China, with Ann Waltner (co-artistic director, speaker) and Qin Fang (speaker), Chen Bo (Sheng); Gong Xi (Guzheng)
December 12, 2010
Matteo Ricci: His Map and Music (World Premiere), China National Center for the Performing Arts (The Egg), Beijing, China, with Ann Waltner (co-artistic director, speaker) and Qin Fang (speaker), Chen Bo (Sheng); Gong Qi (Guzheng)
December 7, 2010
Vespro della Beate Vergine, 1610, Claudio Monteverdi (Monteverdi Vespers), Visitation Catholic Church, Kansas City, MO, Contributors: University of Missouri–Kansas City; Robert Bode (artistic director)
November 22, 2010
Matteo Ricci: His Map and Music (preview concert), Auer Hall, Indiana University Bloomington, with Ann Waltner (co-artistic director, speaker) and Qin Fang (speaker)
November 7, 2010
Vespro della Beate Vergine, 1610, Claudio Monteverdi (Monteverdi Vespers), Miller Theater, Madison, WI Contributors: University of Wisconsin–Madison
June 10, 2010
San Marco and the Venetian Double-Choir, Berkeley Early Music Festival, First Congregational Church, Berkeley, CA, with Nigel North (lute) and Paul Elliott (tenor)
May 21, 2010
Heinrich Isaac: Rediscovered Treasures, Heinrich Isaac Musicology Conference, Unitarian Universalist Church, Bloomington, IN
June 7, 2009
The Venetian Influence, Boston Early Music Fringe Festival, Emmanuel Church, Boston MA
May 25, 2009
The Venetian Influence, Bloomington Early Music Festival, First United Church, Bloomington, IN
Musicians of ¡Sacabuche!
Étienne Asselin
Étienne Asselin started his musical career as a trumpet player, having graduated from the Conservatoire de musique de Montréal with Manon Lafrance as a teacher. While living in Montréal, he performed with multiple orchestras including the Orchestre classique de Montréal and the Festival de Lanaudière orchestra. Following his newly found passion for early music, he studied cornetto performance with Matthew Jennejohn at McGill University. In September 2019, Étienne moved to Switzerland to further his mastery of cornetto at the Schola Cantorum Basiliensis under the tutelage of Frithjof Smith. Now dedicating his career to the cornetto, Étienne has performed with many early music ensembles such as the Studio de musique ancienne de Montréal, The Toronto Consort, ¡Sacabuche!, Dark Horse Consort, Ensemble Caprice, Early Music Vancouver, Trinity Baroque Orchestra and I Gemelli. He is also a founding member of the Consort laurentien along with Maximilien Brisson, Julie Rivest and Christophe Gauthier.
Étienne Asselin a débuté sa carrière de musicien en tant que trompettiste, ayant étudié avec Manon Lafrance au Conservatoire de Musique de Montréal. Habitant à Montréal, il a eu l’opportunité de se produire avec plusieurs orchestres incluant l’Orchestre classique de Montréal et l’orchestre du Festival de Lanaudière. Afin de poursuivre sa nouvelle passion pour la musique ancienne, il a étudié le cornetto à l’Université McGill avec Matthew Jennejohn. En Septembre 2019, Étienne s’est installé en Suisse pour se perfectionner au cornetto à la Schola Cantorum Basiliensis sous la tutelle de Frithjof Smith. Maintenant entièrement dédié au cornetto, Étienne s’est produit avec de nombreux ensembles dont le Studio de musique ancienne de Montréal, The Toronto Consort, ¡Sacabuche!, Dark Horse Consort, Ensemble Caprice, Early Music Vancouver, Trinity Baroque Orchestra et I Gemelli. Il est aussi membre fondateur du Consort laurentien avec Maximilien Brisson, Julie Rivest et Christophe Gauthier.
Maximilien Brisson
A graduate of McGill University, the Royal Conservatoire in The Hague and the Schola Cantorum Basiliensis, Maximilien Brisson performs as a freelancer in Europe and North America on historical trombones and other early brass instruments, and has appeared with such ensembles as ¡Sacabuche!, Collegium Vocale Gent, I Fedeli, Les Cornets Noirs, the Toronto Consort and La Rose des Vents, among others. He was, with his ensemble the Consort laurentien, a finalist at the prestigious YorkComp in 2019. He has been on the faculty of the Madison Early Music Festival and the San Francisco Early Music Society Baroque Workshop, and is also active as an editor and scholar, with current research focused on the music of Lodovico Viadana and of František Ignác Tůma.
Suite à ses études en musique ancienne à l’Université de Montréal, à l’Université McGill, au Koninklijk Conservatorium de La Haye et à la Schola Cantorum Basiliensis, Maximilien Bisson mène une carrière en Europe et en Amérique du Nord comme spécialiste des trombones historiques et autres cuivres anciens. Il s’est produit, entre autres, avec ¡Sacabuche!, Collegium Vocale Gent, I Fedeli, Les Cornets Noirs, le Toronto Consort et La Rose des Vents. Le Consort laurentien, groupe qu’il a fondé avec Étienne Asselin, Julie Rivest et Christophe Gauthier, a été finaliste de la presitigieuse YorkComp en 2019. Il a enseigné au Madison Early Music Festival et au San Francisco Early Music Society Baroque Workshop, et est aussi actif comme éditeur et chercheur. Sa recherche se concentre présentement sur l’oeuvre de Lodovico Viadana et celle de František Ignác Tůma.
Peter Christensen
Peter Christensen holds a master’s degree in trombone performance from McGill University. A former member of the Winnipeg and Thunder Bay symphony orchestras, he is currently an Early Music specialist performing exclusively on period trombones. He was a long-time member of the Montreal-based ensemble Les Sonneurs and has performed, recorded and/or toured with such renowned groups as Apollo’s Fire, Studio de Musique Ancienne de Montréal, Toronto Consort, Ensemble Caprice, Les Voix Baroques, Blue Heron, Les voix humaines, Opera Atelier, L’ensemble Claude Gervais, L’harmonie des saisons, Boston Shawm and Sackbut Ensemble, Pacific Baroque Orchestra, Pacific Musicworks, ¡Sacabuche!, and La Rose des Vents. Over the years, Peter has performed widely in Canada, the United States, and South America, and at festivals such as the Festival international de musique baroque de Lameque, Festival Montréal Baroque, the Ottawa Chamber Music Festival, and the Vancouver Early Music Festival.
Peter Christensen détient une maîtrise en interprétation (trombone) de l’Université McGill. Il a été membre des orchestres symphoniques de Winnipeg et de Thunder Bay et, depuis, il se dévoue uniquement à l’interprétation de la musique ancienne sur des trombones d’époque. Membre de l’ensemble montréalais Les Sonneurs pendant plusieurs années, il a joué, enregistré et participé à des tournées avec plusieurs groupes renommés, tels que Apollo’s Fire, le Studio de musique ancienne de Montréal, le Toronto Consort, l’Ensemble Caprice, les Voix Baroques, Blue Heron, les Voix humaines, Opera Atelier, l’Ensemble Claude Gervaise, L’Harmonie des saisons, le Boston Shawm et Sackbut Ensemble, le Pacific Baroque Orchestra, Pacific Musicworks, ¡Sacabuche! et la Rose des Vents. Au fil des ans, Peter a joué à travers le Canada, aux États-Unis et en Amérique du Sud, et a participé à plusieurs festivals, tels que le Festival international de musique baroque de Lamèque, le Festival Montréal Baroque, le Festival international de musique de chambre d’Ottawa et le Vancouver Early Music Festival.
Matthew Jennejohn
Matthew Jennejohn leads a very active career as a soloist, orchestral and chamber musician on the cornetto and baroque oboe, performing and recording with many of the leading early music ensembles in North America including ¡Sacabuche!, Ensemble Arion, Pacific Baroque Orchestra, La Rose des Vents, Les Idées Heureuses, Tafelmusik, La Bande Montréal Baroque, Les Boréades, Les Voix Humaines, The Toronto Consort and the Boston Early Music Festival Orchestra. Matt studied early music at the Royal Conservatory of The Hague, McGill University and the University of British Columbia. He has recorded on the ATMA, CBC, Early-Music.com, CPO, Analekta and Naxos labels. He teaches cornetto, baroque oboe and early music chamber ensembles at McGill University in Montreal and is also a builder of cornetti. His instruments are heard on the present recording.
Matthew Jennejohn mène actuellement une carrière très active comme musicien soliste, de chambre et orchestral. On peut l’entendre jouer sur le cornet à bouquin et hautbois baroque avec plusieurs ensembles parmi les plus importants en Amérique du Nord, ¡Sacabuche!, l’Ensemble Arion, Les Boréades, La Rose des Vents, Les Idées Heureuses, Tafelmusik, La Bande Montréal Baroque, Les Voix Humaines, le Pacific Baroque Orchestra, le Toronto Consort et le Boston Early Music Festival Orchestra. Matt a étudié la musique ancienne au Conservatoire Royal de La Haye ainsi qu’à l’Université McGill et l’Université de Colombie-Britannique. On peut l’entendre sur disque sous les étiquettes ATMA, CBC, Early-Music.com, CPO, Analekta et Naxos. Il enseigne le hautbois baroque, le cornet à bouquin et la musique de chambre à l’Université McGill et est fabriquant de cornets à bouquin. On peut entendre ses instruments joués sur cet enregistrement.
Tanya LaPerrière
Having completed her master’s in violin performance at the Conservatoire Royal de Bruxelles under the guidance of Mira Glodeanu and graduated from McGill University following her studies with Chantal Rémillard, Tanya LaPerrière stands out through the elegance and fervour of her interpretations. Co-concertmaster of the Arion Baroque Orchestra, she also performs for audiences in Canada and abroad with renowned ensembles such as Constantinople, Ensemble Caprice, Les Idées heureuses, the Studio de musique ancienne de Montréal and Clavecin en concert. She has appeared extensively in concerts throughout Europe and the United States and regularly performs with some of the most illustrious names in early music—Marco Beasley, Enrico Onofri, Susie LeBlanc, Matthias Maute, Stefano Montanari, Lorenzo Coppola, Alexander Weimann and many others. Alongside Luc Beauséjour, LaPerrière also serves as a coach for the Orchestre baroque de l’Université de Montréal (OBUM) and enjoys an active career as solo violin and a founding member of the quartet Pallade Musica. The ensemble has won prestigious prizes in Utrecht (Holland) and New York (United States) and came away with two Opus nominations for its recordings on the ATMA Classique label, the latest of which, Schieferlein: Sonates en trio, is the result of the research she carried out in Brussels. The fact that LaPerrière is regularly called upon to perform as concertmaster with Canadian ensembles has been a key factor in shaping her reputation as a leader on the early music scene in Canada.
Diplômée Maître de violon du Conservatoire Royal de Bruxelles sous la direction de Mira Glodeanu ainsi que de l’Université McGill sous la tutelle de Chantal Rémillard, Tanya LaPerrière se distingue par l’élégance et la fougue de ses interprétations. Co-violon solo d’Arion orchestre baroque, elle se produit également sur les scènes canadiennes et internationales avec les réputés ensembles Caprice, Constantinople, les Idées heureuses, le Studio de musique ancienne de Montréal et Clavecin en concert. Ses concerts la mènent partout en Europe et aux États-Unis. Elle collabore régulièrement avec les grands noms mondiaux en musique ancienne tels Marco Beasley, Enrico Onofri, Susie LeBlanc, Matthias Maute, Stefano Montanari, Lorenzo Coppola, Alexander Weimann et plusieurs autres. Elle collabore également en tant que coach à l’orchestre baroque de l’Université de Montréal (OBUM) aux côtés de Luc Beauséjour. Elle mène parallèlement comme violon solo et membre fondateur son quatuor Pallade Musica, lequel a remporté de prestigieux prix à Utrecht (Hollande) et New York (États-Unis), en plus de décrocher deux nominations aux prix Opus pour ses enregistrements sous étiquette Atma classique. Le tout dernier Sonates en trio de Schieferlein est d’ailleurs le résultat de ses recherches à Bruxelles. Madame LaPerrière est régulièrement appelée à se produire en tant que violon solo au sein d’ensembles canadiens, se construisant ainsi une solide réputation de leader en musique ancienne.
Catherine Motuz
Catherine Motuz enjoys an active career as a performer, teacher, and researcher. A founding member of I Fedeli in Basel, she has played and recorded with ensembles including Concerto Palatino, the Amsterdam and Freiburg Baroque Orchestras, Bach Collegium Japan, The English Cornett & Sackbut Ensemble, His Majesty’s Sagbutts & Cornetts, and ¡Sacabuche!. As a soloist, she has performed across Canada and on CBC Radio, at the Midsomer Barock Festival in Copenhagen, and in Austria and Switzerland with countertenor Alex Potter. Catherine studied historical trombone with Charles Toet at the Schola Cantorum, Basel and with Dominique Lortie at McGill University. She has taught at McGill University, the Université de Montréal, the Royal Conservatoire of the Hague, the Royal Academy in London, and currently at the Schola Cantorum in Basel. She has been teaching specialised workshops for early career musicians at LAMP in Nova Scotia, and in the coming summer will also teach at the Neuburger Sommerakademie für Alte Musik and at Alte Musik in Hof. She has given workshops on historical improvisation at the Universities of Oxford, Birmingham, and Glasgow, the Royal Conservatory of the Hague, CESR (Tours), and at the Alamire Foundation (Leuven). Her ongoing doctoral research focuses on ideas about musical and emotional expression in the late fifteenth and early sixteenth centuries.
Catherine Motuz mène une carrière active tant sur la scène que sur les plans de l’enseignement et de la recherche. Membre fondatrice de l’ensemble I Fedeli de Bâle, elle a notamment donné des concerts et enregistré avec différents ensembles, tels que Concerto Palatino, les orchestres baroques d’Amsterdam et de Fribourg, le Bach Collegium Japan, le English Cornett & Sackbut Ensemble, ¡Sacabuche! et His Majesty’s Sagbutts & Cornetts. Elle s’est également produite comme soliste aux quatre coins du Canada et à la radio de Radio-Canada, au festival Midsomer Barock de Copenhague, de même qu’en Autriche et en Suisse aux côtés du contre-ténor Alex Potter. Catherine a étudié le trombone ancien avec Charles Toet à la Schola Cantorum de Bâle, et avec Dominique Lortie à l’Université McGill. Elle a par ailleurs enseigné à l’Université McGill, à l’Université de Montréal, au Conservatoire royal de La Haye, au Royal Academy of Arts de Londres. Elle transmet aujourd’hui son savoir à la Schola Cantorum de Bâle, et donne aussi des ateliers spécialisés aux musiciens en début de carrière de la LAMP, en Nouvelle-Écosse. Elle enseignera l’été prochain au Neuburger Sommerakademie für Alte Musik et au Alte Musik in Hof. Elle a en outre donné des ateliers d’improvisation historique aux universités d’Oxford, de Birmingham et de Glasgow, au Conservatoire royal de La Haye, au Centre d’études supérieures de la Renaissance de Tours, et à la Fondation Alamire de Louvain. Les recherches doctorales qu’elle mène présentement portent sur les concepts d’expression musicale et d’expression émotionnelle à la fin des XVe et XVIe siècles.
Linda Pearse
Baroque trombonist and emergent musicologist Linda Pearse is an Associate Professor of Music at Mount Allison University and lectures on Early Trombones at the Historical Performance Institute at Indiana University Bloomington and at McGill University. Recent performances include concerts with La Rose des Vents, The Toronto Consort, Tafelmusik, Pacific MusicWorks, and with Early Music Vancouver as well as other period ensembles and festivals. Pearse serves as the Artistic Director of the San Francisco Early Music Summer Baroque Workshop, the Sackville Festival of Early Music and of ¡Sacabuche! Pearse’s intercultural projects engage new music, early music, texts, soundscapes, and images in conversations that explore cultural contacts, identity, and collisions in the Early Modern Period. She pursues her research interests in intercultural encounter at McGill University’s Schulich School of Music (mentor: Julie Cumming) and publishes on intercultural collaboration. Pearse’s work receives frequent support from SSHRC, the Canada Council for the Arts, FACTOR, and other agencies. Her critical edition of Seventeenth-Century Italian Motets with Trombone is published with A-R Editions. With ¡Sacabuche! she released an album of Seventeenth-century Italian Motets on the ATMA Classique label. She is currently preparing a co-authored volume, A Catalogue of Music for the Early Trombone for publication.
Tromboniste baroque et musicologue de plus en plus présente dans la sphère musicale, Linda Pearse est professeure agrégée à l’Université Mount Allison et enseigne le trombone ancien à l’Université de l’Indiana (Bloomington) et à l’Université McGill. Elle a récemment joué dans le cadre de festivals de musique ancienne et donné des concerts avec différents ensembles et orchestres, notamment avec La Rose des Vents, le Toronto Consort, Tafelmusik, le Pacific MusicWorks et le Early Music Vancouver. Linda Pearse est aussi directrice artistique du San Francisco Early Music Summer Baroque Workshop, du Festival de musique ancienne de Sackville et de l’ensemble ¡Sacabuche!. Musique contemporaine, musique ancienne, textes, images et paysages sonores divers se côtoient dans ses projets interculturels, où elle explore les contacts entre les cultures, l’identité, et les chocs survenus au début de l’ère moderne. Linda mène des recherches sur les rencontres interculturelles à l’École de musique Schulich de l’Université McGill (mentore: Julie Cumming) et publie des articles sur la collaboration interculturelle. Ses travaux sont par ailleurs souvent soutenus par différents organismes, tels que le Conseil de recherches en sciences humaines du Canada, le Conseil des arts du Canada et FACTOR. Son édition critique Seventeenth-Century Italian Motets with Trombone a été publiée par A-R Editions, un projet qui s’est poursuivi avec l’enregistrement d’un album avec ¡Sacabuche!, Motets italiens avec trombones du XVIIe siècle, signé ATMA Classique. Linda travaille présentement à titre de coauteure sur A Catalogue of Music for the Early Trombone, un ouvrage qui paraîtra sous peu. Baroque trombonist and emergent musicologist Linda Pearse is an Associate Professor of Music at Mount Allison University and lectures on Early
Martie Perry
As a long-standing member of ¡Sacabuche!, Martie Perry enjoys a vibrant career as a respected baroque specialist on violin and viola, performing with many North American period instrumental and choral ensembles. She is the 2020-2022 acting concertmaster for the Indianapolis Baroque Orchestra, directed by Barthold Kuijken, and is also co-concertmaster of the North Carolina Baroque Orchestra. She also performs regularly with the Atlanta Baroque Orchestra, Bourbon Baroque, Spire Chamber Ensemble, Wyoming Baroque, and Alchymy Viols, as well as with the group she founded and directs, Heartland Baroque. Martie has been heard in the Public Radio International Christmas program, “Glad Tidings,” and in a live international broadcast on Chicago’s WFMT radio, on the early music program “Harmonia,” and on NPR’s “Performance Today.” She has recorded for Edition Lilac, ATMA Classique, Musica Omnia, Naxos, WFIU, Cedille, the National Cathedral, and Concordia Publishing.
Membre de ¡Sacabuche! depuis des années déjà et musicienne baroque respectée, Martie Perry jouit d’une carrière dynamique comme violoniste et altiste, se produisant avec nombre d’ensembles vocaux et d’ensembles de musique ancienne nord-américains. Elle joue sous la direction de Barthold Kuijken comme violon solo 2020-2021 de l’Indianapolis Baroque Orchestra, et elle est aussi co-violon solo du North Carolina Baroque Orchestra. Elle donne régulièrement des concerts avec différents ensembles et orchestres, notamment avec l’Atlanta Baroque Orchestra, Bourbon Baroque, le Spire Chamber Ensemble, Wyoming Baroque et Alchymy Viols. On peut de même l’entendre avec l’ensemble Heartland Baroque, qu’elle a fondé et qu’elle dirige. Martie a également participé à diverses émissions de radio, telles que Glad Tidings, une émission de Noël produite par la Public Radio International, l’émission de musique ancienne Harmonia, Performance Today, une émission de la NPR, ainsi qu’une émission en direct diffusée à l’international sur les ondes de la station WFMT de Chicago. Elle a en outre réalisé plusieurs enregistrements pour Edition Lilac, ATMA Classique, Musica Omnia, Naxos, Cedille, la station de radio WFIU, la National Cathedral et Concordia Publishing.
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