Moderna perioden instrument
Signing up enhances your TCE experience with the ability to save items to your personal reading list, and access the interactive map. Article by Tamara Bernstein. Published Online August 19, Last Edited December 15, Introduction Terms such as 'early music,' 'original instruments,' and 'period performance' have been used somewhat fluidly by the media, the music industry, and musicians.
This article surveys the performance, in Canada, of repertoire from ca ie, baroque, classical, and early romantic using instruments or modern replicas , techniques, and stylistic sensibilities from the appropriate period.
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Physical differences between instruments from these periods and their modern counterparts include, for bowed stringed instruments, the use of gut rather than steel strings; shorter fingerboards; the absence of a chin-rest on violins or an endpin on cellos; shorter, convex bows; and lower string tension. The woodwind instruments have few or no keys; brass instruments are valveless. With regard to interpretation, period performers favour the rhetorical, speech-like approach described in numerous early treatises, which stands in contrast to the 19th-century emphasis on long melodic lines and homogeneous sound.
Selective use of vibrato, as an ornamental rather than a constant feature, also contributes to the distinctive sound of period instruments. Orchestras are generally led by either the concertmaster or the harpsichordist rather than a conductor.
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During the late s and the s the period instrument movement became an important component of musical life in Canada, as elsewhere. In Canada, its initial impetus came from the European movements eg, the Academy of Ancient Music in London, founded in , but the ground had been prepared by the pioneer work of Canadian musicians such as Arnold Walter , who played the recorder and encouraged such performances in Toronto; Rj Staples , who used recorders in school music programs as early as ; Mario Duschenes , who began playing and teaching recorders in Montreal in ; Celia Bizony , who founded the McGill Schola Cantorum and the group Musica Antica e Nuova in and respectively; the harpsichordist Greta Kraus ; the cellist and gambist Peggie Sampson ; and Rowland Pack , who established the first of his early music groups in with his wife, Carol, and the recorder player Hugh Orr.
Wolfgang Grunsky, who began to teach recorder and viol in Toronto in , was the founder in of the Hart House Viols, a group which as the Hart House Consort of Viols was led later by Peggie Sampson. Christine Mather , who co-founded the Manitoba University Consort with Peggie Sampson in , was also instrumental in setting up early music programs at the University of Victoria and Wilfrid Laurier University.
Vancouver, Toronto, and Montreal have been the major centres for period instrument performance. The Vancouver Society for Early Music has played a central role, through its winter and summer concert seasons, which feature local and internationally renowned performers; its quarterly publication, Musick begun in ; and its summer programs. The society and the CBC co-sponsored a series of baroque concerts given by the CBC Vancouver Orchestra's string section, for which the players used baroque bows and gut strings.
These concerts and broadcasts were initiated while John Eliot Gardiner was director of the orchestra, and continued after his departure, with guest soloists and directors such as Nancy Argenta , Monica Huggett, Ton Koopman, and Stanley Ritchie. In these concerts were discontinued, with the founding of the Pacific Baroque Orchestra, a small period instrument orchestra led by Marc Destrubé, violin, which gave its inaugural performance at the University of British Columbia 21 Apr also co-sponsored by the society and the CBC.
Other important performers include the recorder player Peter Hannan and the harpsichordist Martha Brickman former winner of the Bruges competition. In Winnipeg, the MusikBarock Ensemble, founded and directed by harpsichordist Eric Lussier, uses a mixture of period and modern instruments, with the intention of becoming a fully original instrument ensemble.
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Lussier and harpsichordist Janet Scott also founded the Manitoba Harpsichord Association in the mids. In Toronto Tafelmusik, founded in by Kenneth Solway recorder, oboe and Susan Graves bassoon , has attracted resident and guest performers. Baroque Music Beside the Grange, founded in by Alison Melville recorder, flute and Colin Savage recorder, classical clarinet presents an annual chamber music series three concerts in , twelve in Other active performers in Toronto include Stephen Marvin , violin, Elizabeth Keenan, harpsichord, and Susan Prior, recorder and flute.
He was co-editor of The Strad , and has written on the violin and its history for several publications, including some articles for The New Grove Dictionary of Musical Instruments.
Toronto singers specializing in baroque style and technique include the mezzo-soprano Laura Pudwell, the tenors David Arnot and David Fallis, and the countertenors Stratton Bull and Theodore Gentry. In the choral scene, the Toronto Chamber Society, founded in and, beginning in , directed by David Fallis, and the Tafelmusik Chamber Choir, founded in , specialize in 18th-century repertoire and technique.
Period instrument movement
Montreal period instrument groups include the Studio de musique ancienne de Montréal , founded in , and Ensemble Arion and the Ensemble Les Nations de Montréal, both founded in Canadians who have established international careers in the period instrument movement include the sopranos Nancy Argenta and Suzie LeBlanc both based in London in and the mezzo-soprano Catherine Robbin.
In Canada instrumentalists and singers have studied baroque dance with Elaine Biagi-Turner in Toronto and Ottawa, and with Catherine Lee in Vancouver, in order to understand the gestures of baroque music, which is largely rooted in dance. Biagi-Turner, who arrived in Toronto from the USA in , is founder and artistic director of the performing company Danse Baroque, and teaches baroque dance and gesture privatetly and at York University , Wilfrid Laurier University's summer workshop, and several colleges in the USA.
Opera Atelier, founded in Toronto in by Marshall Pynkoski and Jeannette Zingg, presents historically informed performances of opera, ballet, and theatre from the 17th and 18th centuries. Danse Baroque, Opera Atelier, and Lee's Dance historia in Vancouver all use period instrument orchestras or ensembles in their productions. Education in period instrument performance in Canada has lagged far behind popular acceptance of the movement.
In , very few institutions had significant year-round programs, with the result that virtually all of Canada's leading practitioners had received their specialized training abroad, especially in the Netherlands.