September 11 – 27, 2015
Pallade Musica brings together four of Montreal’s most promising Early Music performers. Grand Prize winners at the Early Music America Baroque Performance Competition in New York, October 2012, the quartet consists of Tanya LaPerrière, Baroque violon, Elinor Frey, Baroque cello, Esteban La Rotta, theorbo, and Mark Edwards, harpsichord. Based on dedicated research and continuous exploration, Pallade Musica’s performances are acclaimed for
their expressive and elegant interpretations, earning praise for their “spectacular virtuosity” (Tom Strini Blog) and “tremendous ensemble sense” (Milwaukee Journal Sentinel).
The ensemble has performed throughout Canada including at the Ottawa Chamber Music Festival, Festival Montréal Baroque, Festival Alexandria, Toronto Music Garden, Early Music Vancouver, Early Music Society of the Islands (Victoria), and in the United States at Early Music Now (Milwaukee), the Chicago Cultural Center, and will soon perform at Renaissance and Barouqe (Pittsburgh), Early Music Societies of Seattle, San Francisco, San Diego, and Arizona, at the Connecticut and Indianapolis Early Music Festivals, and in Bogotà, Colombia. The members of Pallade Musica regularly appear with leading early music ensembles all over the world, while also pursuing careers as soloists and teachers. Pallade Musica recorded “Verso Venezia,” its first CD on the ATMA label. The CD features music of Castello, Legrenzi, and Merula was released in April 2014.
For more performance videos click the links below:
Disputatio: Crucifixion / Resurrection
Music, we believe, is a source for understanding the mysteries of human experience. Disputatio,
a medieval system of education, asks that traditional texts serve as the authority for exploring
sides of an argument. Our concert explores mysteries represented by the Crucifixion–pain,
lamentation, sorrow–and the Resurrection–joy, glory, happiness. The program centers on two
major works from the collection called “Rosary” or “Mystery” Sonatas of H.I.F. Biber. These
sonatas are notable for their use of scordatura, unusual tunings of the open strings, that may
illustrate certain religious enigmas. Through Biber’s works and others of Buxtehude, J.S. Bach,
Telemann, Schieferlein, and Erlebach, the contrasting qualities present in the music may therefore
help us to articulate and understand such mysteries. The concert also includes variations on the
famous theme “La Folia,” written by our cellist, Elinor Frey, who thereby offers her own
perspective on musical joy and sorrow.
Sonata No. 3 in A minor, Op. 1, BuxWV 254 Dietrich Buxtehude (1637-1707)
Fugue No. 4 in C- sharp minor, BWV 849b Johann Sebastian Bach (1685-1750)
Sonata No. 2 in A Minor for solo violin, BWV 1003 J. S. Bach
Grave (Mvt. 1)
Lute Suite No. 5 in C Minor, BWV 997 J. S. Bach
Sarabande (Mvt. 3)
Guided by Voices (2014) Scott Edward Godin (b. 1970)
Rosary Sonata X “The Crucifixion” Heinrich I. F. von Biber (1644-1704)
Præludium. Aria – Variatio – Adagio
Rosary Sonata XI “The Resurrection” H.I.F. von Biber
Sonata – Surrexit Christus hodie. Adagio
Sonata for violin, violoncello obbligato and continuo Gregorius Schieferlein
- Adagio (1704-1787)
Sonata No. 1 in F Major, Op. 1, BuxWV 252 D. Buxtehude
*Program is subject to change. Please contact Debut Atlantic prior to publishing or printing. Debut Atlantic will supply printed programs.