Luciane Cardassi, Brazilian/Canadian pianist who performed a solo concert show for piano and spoken voice in Banff (Canada), travelled further with her ideas and brought a big part of the concert to Vancouver, this past October 5th.
The performance was brilliantly vivid and full of energy, and the pieces, for many moments highly demanding, showed clearly the musical capability of the pianist who presented them.
The space for the performance was the newly inaugurated room Murray Adaskin at the CMC Vancouver, and the well resonating piano in which the concert was played on, belonged to Mr. Adaskin himself.
It is a joy to see performers around this country and the world who are so committed in bringing new music and new ideas from people who are among us, having these ideas in real time, which usually concern our current lives and daily (inner or outer struggles). It is so reassuring to see the efforts of some performers to bring musicians and thinkers together.
Thank you very much once again, Luciane Cardassi. 🙂
Luciane Cardassi, Nova Pon, and Maria Eduarda Mendes Martins at the Murray Adaskin room
Maria Eduarda Mendes Martins and the Victoria Composers Collective are launching a new concert series to celebrate diverse generations of Canadian classical music.
The British Columbia concert will happen on November 18th 2017 at St. Mary’s Anglican Church, as part of Oak Bay Music.
The project envisions the performance of music by Canadian classical composers from each province and territory of Canada per edition, in which pieces may be selected either through personal invitations or through calls-for-scores/proposals.
As a new project taking shape, the Generations of Canadian Music concert promises to be a way to promote classical music made in Canada, as well as to highlight music by living composers for local audiences on the West Coast. We are looking forward to seeing how this project will impact our community, and how it will connect with the diverse artistic communities throughout Canada.
It is good to know that New Music is being energetically promoted throughout the entire country, by young and extremely competent musicians who strive to bring life to New Music, and to bring New Music to life beyond the academic world.
In the same way the Canadian West Coast is contemplated with the work of the Victoria Composers Collective, the Waterloo region also has a group of composers planing and realizing truly especial music opportunities, such as the WRCMS.
Andrej Treszcowski, Collin Labadie, Ivana Jokic, and Maria Kouznetsova, gathered their ideas and organized the Waterloo Region Contemporary Music Sessions, which is “a weeklong series of workshops, concerts, panels, reading sessions, and activities designed to promote and provide opportunities for emerging and early career Canadian and international performers, improvisers, and composers of contemporary music.”
The innovative organizers of this big festival are seeking for help to bring their guest artists and lecturers, providing them with lodging and meals during the week, and I was given the opportunity to bring the awareness of this festival to the West Coast community! If you would like to consider being part of this exciting festival as a donor, I encourage you to take a look at their campaign: https://www.youcaring.com/wrcms-858044
If you would like to know more about the festival, there are very informative interviews and articles about the WRCMS:
Your contribution would make the whole difference for this event and for the music/artistic production of the Waterloo region, and as a New Music advocate, I would like to thank you very much for your time and consideration!
The Canadian/Brazilian pianist, Luciane Cardassi, recently organized and performed a solo concert for piano, electronics and voice called Le Piano Parlant, which featured works of Brazilian and Canadian composers in the same night, and introduced the audience to a fine balance among these three distinct sound sources.
The concert was performed at The Banff Centre for the Arts and Creativity , which provides artists from all over the world with an incredible infrastructure and an almost self-sufficient development of resources and spaces for artists to compose new works.
I was lucky and honoured to have a piece premiered in this concert along with compositional grandfathers on mine, such as Armando Albuquerque . My piece was the only premiere in the program: Douce Dame Jolie had been commissioned for a performance Luciane was organizing for a music competition in New York City for piano and electronics. Her program was not selected, but Luciane decided to use my piece for this concert she was organizing in Banff, solely, for piano, electronics and spoken voice—a true one-woman-show!
A fortunate coincidence ended up happening between my work and the concept of the concert—Le Piano Parlant. Before knowing about my work’s participation in this concert,I composed this piece called Douce Dame Jolie, inspired by a medieval song of same name, written by composer and poet Guillaume de Machaut (1300-1377). And because of this choice, besides being the only piece in the program having French text (which matches the name of Luciane’s concert), Douce Dame also featured little loudspeakers playing part of the electronics in the piece from inside of the piano, and interacting—to a certain level—with Luciane’s playing (which matches, as well, the idea of a talking piano).
This post is a big thank you for Luciane Cardassi, one of the best pianists of experimental/contemporary music I know. I feel truly honoured to have my piece played by her.
My birthday this year, in which I am completing 27 years of age was full of things to celebrate. One of them was the 100th anniversary of the female right to vote in British Columbia.
On April 5th, 1917, a segment of Canadian women won the right to vote in British Columbia. On April 7, 2017, the Association of Canadian Women Composers presented women’s chorus Ensemble Laude, the Emily Carr String Quartet, soprano Elizabeth Gerow and pianist Jannie Burdeti for a concert celebrating this historic event, featuring music by Canadian women from the seventeenth century onward with an emphasis on composers from British Columbia.
I was invited by the Association of Canadian Women Composers to help organizing this event, which made composers, performers and audience members proud, both to be part of this historic moment, and to be part of this celebratory event. And it was a very meaningful to me, particularly, to be able to contribute to this successful acknowledgement, to help presenting pieces which were premiered almost one hundred years after they were written, and to be connected to BC history it in such an important and coincident way: my birth.
The fourth concert of A Place to Listen’s 5th season will feature Victoria-based soprano and composer Maria Eduarda Mendes Martins, in a programme of works for unaccompanied voice
Maria Eduarda will sing her own hour-long composition ‘Vida’; in the programme note, she writes: “This piece reminds me of the life of our children, which barely changes before the eyes of the ones who see them grow, but which becomes sensitively transformed for someone who leaves our environment and returns some time after.”
She will also present Chaya Czernowin’s “Adiantum Capillus-Veneris,” an ‘etude in fragility’ which walks a delicate line between voice and breath.
The Victoria Composers Collective starts the 2017 season with a New Music Festival happening at the traditional district of Oak Bay, in Victoria BC.
The Oak Bay New Music Festival is happening at St. Mary’s Anglican Church, on February 11th, at 8:00 PM, and it features experimental music for chamber ensembles, written and performed by local composers and musicians!
