Season 2006-2007

Concerts

Garde-robe
Thursday 3 May 2007

Bach and Death
Friday 23 March 2007

Pre-Classical Concertos
Thursday 25 January 2007

Colpron senza basso
Thursday 30 November 2006

2006 Benefit Gala
Tuesday 14 November 2006

Scarlatti and the Flute
Thursday 12 October 2006

Artistic Director’s Note

Les Boréades is already 11 years old, and the pleasure of seeing you again, our cherished and loyal public, is as keen as ever. It is true that the repertoire that we tackle is inexhaustible, including many immortal masterpieces as well as lesser-known compositions that nonetheless hold pleasant surprises. Our season, as always marked by a certain audacity and a sense of discovery, calls upon some outstanding musicians who share our passion for music.

The season opens with an Italian program featuring the concertante music of Alessandro Scarlatti. Then a recital by yours truly will put the spotlight on the recorder and traverso as real solo instruments – that is, without basso continuo – in compositions by the German masters of the eighteenth century: Bach father and son. We will start the year 2007 with a concert of pre-classical works that will bring out the traverso in all its expressive and virtuoso possibilities, with the double bassist David Sinclair and the Franz Joseph Quartet as our guests for the occasion. In fourth place, a Bach concert in which our enlarged ensemble will present the magnificent cantatas BWV 78 and 198. Finally, the season will come to a close with a premiere: a new work entitled Garde-robe will put together theatre and music in order to tell you the story of Pauline and the wind.

During the summer, we recorded our thirteenth and fourteenth CDs, produced in collaboration with the soprano Karina Gauvin (Purcell recital) and our old friend, the conductor and harpsichordist Eric Milnes (Beatles Baroque III). It is because of our faithful audience, which follows our activities closely and appreciates our work, that we have been so productive!

Speaking for the entire ensemble, I wish you an excellent evening and abelle saison de Boréades!

Francis Colpron

Garde-robe

Thursday 3 May 2007, 19:00

Artists
Francis Colpron
Hélène Plouffe
Joël da Silva
Marie-Hélène da Silva

Auditorium Le Prévost
7355, rue Christophe-Colomb, Montréal, Québec

  • Regular: 25,00$
  • Senior: 20,00$
  • Student: 12,00$

Program

Co-production with Moulin à Musique (creation and production of musical shows for children and family). Text and production: Joël da Silva; Performers: Marie-Hélène da Silva and Francis Colpron; Sets and costumes: Patrick Martel; Lighting: Mathieu Ferdais; Music: Thomas Preston, Michel Corrette, Jacob Van Eyck, etc.

Two musicians tell a story about the wind.

It’s spring. One washday, when there was a strong wind, Pauline captured the wind in the sheet that she was hanging on the clothesline, and took it with her into the wardrobe. From that day on, in the secret of the wardrobe, Pauline played with the wind, at the whim of the seasons, and of the clothes. Together, they re-created the spring, and then the summer. When autumn came, the wind announced it would be leaving soon. Pauline tried to hold on to her friend, suggesting other games and other disguises, but soon, as winter came, tears were shed as they said goodbye. And the wind took off in search of another spring.

In a playful and musical way, through the medium of a friendship, Garde-robe revisits the familiar theme of the four seasons. With two performers, a variety of flutes, a violin, songs, percussion, and invented instruments. This show is intended for children from 4 to 94 years of age. (FC)

Bach and Death

Friday 23 March 2007, 20:00

Artists
Colin Balzer
Dorothee Mields
Eric Milnes
Francis Colpron
Hélène Plouffe
Matthew White
Sumner Thompson

Salle Pollack – Université McGill
Website
555, rue Sherbrooke Ouest [métro McGill], Montréal, Québec

  • Regular: 35,00$
  • Senior: 24,00$
  • Student: 12,00$

Program

Co-production with the singers of Les Voix Baroques. Cantatas BWV 78 and 198 by Johann Sebastian Bach. Dorothee Mields, soprano; Matthew White, countertenor; Colin Balzer, tenor; Sumner Thompson, bass; Eric Milnes, director

The idea of death is omnipresent in the works of Bach. Still, it is surprising that we don’t find, among his compositions, the aspect of tragedy whereby the end of life is associated with irrational terror. On the contrary, the anguish of dying gives way to a spirit of calm joy, of sweetness and comfort. In Lutheran theology, in fact, death is considered to be an awaited liberation from the vicissitudes of our time on earth, full of the hope of meeting Christ in eternal life; death should, therefore, frighten only those who die in a state of sin. Among the most beautiful of Bach’s cantatas that have death as a theme is the Funeral Ode BWV 198, composed in 1727 in homage to Christiane Eberhardine, Electress of Saxony and Queen of Poland. (FF)

Pre-Classical Concertos

Thursday 25 January 2007, 20:00

Artists
Francis Colpron
Hélène Plouffe
Quatuor Franz Joseph

Chapelle Notre-Dame-de-Bon-Secours
Website
400, rue Saint-Paul Est [métro Champ-de-Mars], Vieux-Montréal, Québec

  • Regular: 25,00$
  • Senior: 20,00$
  • Student: 12,00$

Program

With the Franz Joseph quartet. Sturm und Drang and Rococo concertos for traverso by Franz Xavier Richter, Johann Stamitz, and Carl Philipp Emanuel Bach

If there is a particularly discredited period in the history of music, it is surely the years from the end of Bach’s life up to the flourishing of the great Viennese classicists, Haydn and Mozart. Nevertheless, if we look at it closely, this period that we rather pejoratively refer to as pre-Classical seems like a veritable laboratory, one that saw the rise of Germanic musical genius. Beyond the superficial yet charming grace of the style galant, there were movements proposing to redefine affective expression, such as Empfindsamkeit and Strum und Drang, upsetting the foundations of the Baroque and already announcing Romanticism. Besides which, in the instrumental domain, numerous composers were preoccupied with the development of the concerto, the creation of the symphony, and the refining of the sonata forms. Considered as an instrument of great sensitivity, the flute valiantly held on to its role, with sonatas and concertos featuring its delicacy in equal measure with its virtuosic qualities. (FF)

This concert is being recorded by Espace Musique, the music station of Radio Canada (100.7 in Montreal) and will be broadcast at a later date.
Recording producer: Richard Lavallée; General manager of Espace Musique: Christiane LeBlanc.

Colpron senza basso

Thursday 30 November 2006, 20:00

Artists
Francis Colpron
Hélène Plouffe

Chapelle Notre-Dame-de-Bon-Secours
Website
400, rue Saint-Paul Est [métro Champ-de-Mars], Vieux-Montréal, Québec

  • Regular: 25,00$
  • Senior: 20,00$
  • Student: 12,00$

Program

Sonatas and fantasias for solo recorder and traverso by Georg Philipp Telemann, Johann Sebastian Bach, and Carl Philipp Emanuel Bach

The principle of the basso continuo characterizes virtually all music of the Baroque period. In chamber music, apart from works for keyboard, even pieces called “solos” cannot do without this accompaniment! Nevertheless, some rare compositions were written for melody instrument with the specific notation senza basso. Alongside the well-known sonatas and suites for solo violin and cello by Bach, the recorder and the traverso had an invaluable solo repertoire in the real sense of the term: at once delicate, ingenious, and virtuosic, and in which the instrument reveals its secrets in a sort of interior dialogue, reveling in its solitude. (FF)

2006 Benefit Gala

Tuesday 14 November 2006, 18:00

Artists
Francis Colpron
Hélène Plouffe

Ritz-Carlton Montréal
Website
1228, rue Sherbrooke Ouest, Montréal, Québec

  • Regular: 0,00$
  • Senior: 0,00$

Program

“For our 11th season, Les Boréades promise our loyal audience and all music lovers that we will continue to play the most beautiful works of the baroque and classical repertoire with conviction. Sonatas, trios, quartets, concertos, suites, and cantatas whether large and small and for all kinds of instrumental line ups; music from Italy, France, England, or the German-speaking countries; we’ll embrace it all, and relish and cherish it.”

Francis Colpron
Artistic Director
Les Boréades de Montréal
Francis Colpron

With the special collaboration of Madame Sophie Faucher, actress and master of ceremonies for the gala, and with two performances of works by Bach by Les Boréades de Montréal.

Attendance prizes
-Two full-fare plane tickets offered by Air France for a European destination, with upgrade certificates for departures from Montreal
-Two tickets for the new 2007 Cirque du Soleil show
-Gift certificate from Archambault
-A complete set of recordings by Les Boréades and a season’s pass for 4 persons
-A one-year subscription to the daily newspaper Le Devoir
-A $500 Via Rail travel voucher

All receipts from the gala will fund the development of Les Boréades, which is registered as a non-profit organization.

Tickets

To obtain tickets for the gala, please use our online reservation form, or call us at 514-634-1244, or send an email to njcharbonneau@videotron.ca. We will mail you tickets as soon as we receive payment. A receipt for income tax purposes will be issued a portion of the amount corresponding to the net income of the event (registered non-profit organization #897970323RR0001).

For any other information or to become a sponsor in exchange for services including free tickets, contact Robert J Vézina at 514-875-1353 extension 205.

Scarlatti and the Flute

Thursday 12 October 2006, 20:00

Artists
Francis Colpron
Hélène Plouffe

Chapelle Notre-Dame-de-Bon-Secours
Website
400, rue Saint-Paul Est [métro Champ-de-Mars], Vieux-Montréal, Québec

  • Regular: 25,00$
  • Senior: 20,00$
  • Student: 12,00$

Program

Sonatas and concertos for recorder and strings

Alessandro Scarlatti was born in Palermo in 1660. At the age of twelve he went to Rome, where he was able to develop his talent in an extremely varied musical environment. He enjoyed a certain celebrity throughout his life, and lived in many important cities of the Italian peninsula. It was probably during his second stay in Naples (around 1708) that he composed the flute sonatas that we propose for this recording project. In order to really understand the instrumental art of Alessandro Scarlatti, it is essential to study the collection compiled in the nineteenth century by the abbot Fortunato Santini. This collection is kept at the diocesan library of Münster, one of the world’s richest music libraries. In it we find works for flute, as well as for various instrumental groupings.

Upon examination of the Münster manuscripts, it is apparent that the flute part demands great technical skill and a gift for solo playing. Furthermore, the soloist must have the ability to concerter, that is, to enter into a musical debate with the other members of the ensemble and to improvise, with ornamentations that are unrestrained, yet always appropriate. The lively and vigorous exchanges of the flute part, like the first violin elsewhere, suggest that Corelli was a source of inspiration. In recent years we have examined Corelli’s art of ornamentation; the music of Alessandro Scarlatti now seems to be the perfect vehicle for demonstrating Italian music of the early eighteenth century. (FC)