Members of the NAC Orchestra with pianist Frédéric Lacroix showcase their exceptional musicianship in this chamber music concert of works by two distinguished women composers of the 19th century: Louise Farrenc and Luise Adolpha Le Beau.
This concert features the chamber music debut of Stephanie Morin, the NAC Orchestra’s new Second Flute, who began her first season in September 2020.
Program:
LOUISE FARRENC Flute Trio, Op. 45 (22’) I. Allegro deciso - Più moderato ed espressivo
II. Andante
III. Scherzo. Vivace - Poco più sostenuto IV. Finale Stephanie Morin, flute / Rachel Mercer, cello / Frédéric Lacroix, piano
LUISE ADOLPHA Le BEAU Piano Quartet in F minor, Op. 28 (24’)
I. Adagio – Allegro con fuoco
II. Adagio
III. Tempo di Mazurka
IV. Finale. Allegro Yosuke Kawasaki, violin / Paul Casey, viola / Rachel Mercer, cello / Frédéric Lacroix, piano
Louise Farrenc (1804–1875) and Luise Adolpha Le Beau (1850–1927) emerged as composers of note at a time when musicians of their gender were more often performers rather than writers of music. They also established their reputations composing chamber music, which, in their respective cultural milieus in France and Germany, was remarkable, for neither was it the most fashionable genre (as in Farrenc’s opera-obsessed Paris) nor the most progressive (as in Le Beau’s Munich, where Wagner’s influence held sway). Their chamber works were presented by some of the most notable musicians of their day, including themselves as pianists, and received praise from critics and other composers such as Schumann, Liszt, and Brahms. The Trio and Piano Quartet on this program are exceptionally well-crafted and engaging for performers and listeners alike.
The Trio in E minor for flute, cello, and piano is one of Farrenc’s last chamber compositions. It was premiered in 1857, at a privately organized concert (as was typical of chamber music in Paris) at the home of Madame Pierson, née Sophie Bodin. One of Farrenc’s former students, she performed the piano part alongside eminent Parisian musicians: flutist Louis Dorus (the work’s dedicatee) and cellist Charles Joseph Lebouc. The instruments are equal participants in the dramatic opening movement, which also exhibits the composer’s stylistic use of continually shifting harmonic colours. In the Andante, the flute introduces a tuneful melody that returns in varied settings, including a stormy middle section. The Scherzo is agitated in mood, with flute and piano playing running passages; in the trio, the cello takes the lead in a songful duet with the flute. A near-constant patter of notes imbues the Finale with vigour and restless drive.
Le Beau’s Piano Quartet dates from 1883, when she was living in Munich. Dedicated to the German composer Franz Lachner, with whom she had recently studied, the work had a high-profile premiere at the Leipzig Gewandhaus that year on December 1. It was received with great acclaim and was successfully performed internationally, including in Sydney, Australia, several years later. The first movement opens with a melancholy chorale for the strings, after which the piano takes up the energetic main theme of the fiery Allegro; a second theme, first presented by the cello, provides sweet contrast. The Adagio is all exquisite tenderness. Unusually, Le Beau incorporates a mazurka for the scherzo movement, which surrounds an ethereal intermezzo. The rondo Finale is full of high spirits with moments of impassioned warmth, and features an intense reminiscence of the opening Allegro’s main theme, just before the end.
Stephanie Morin joined the NAC Orchestra as Second Flute and Piccolo in 2020 and is currently on faculty at the University of Ottawa. In addition to her teaching at uOttawa, Stephanie has been a guest speaker and teacher at programs such as OAcademy, Fluture Music Studio and Flute On The Edge. She is also an active chamber musician and has performed in NAC chamber music concerts and at Ottawa Chamberfest.
Before her tenure at the National Arts Centre Orchestra, Stephanie was Assistant Principal Flute with the Edmonton Symphony Orchestra and Principal Flute of the Laval and Saguenay-Lac-Saint-Jean orchestras. She has also performed with ensembles such as Les Violons du Roy, the Orchestre Métropolitain, and the Orchestre Symphonique de Montréal.
Stephanie pursued her music studies in Montreal, first at Marianopolis College with Carolyn Christie, then at McGill University with Denis Bluteau, and finally at the Conservatoire de Musique de Montréal, where she completed a Master's in Flute Performance with Marie-Andrée Benny.
Stephanie is a prize-winner at the OSM Competition, the Canadian Music Competition, the Prix d'Europe, and the Orchestra Toronto Concerto Competition.
Stephanie Morin est deuxième flûte et piccolo pour l’Orchestre du CNA depuis 2020 et enseigne présentement à l’Université d’Ottawa. Elle a également été conférencière et professeure invitée pour divers programmes, dont Oacademy, Fluture Music Studio et Flute on the Edge. Chambriste passionnée, elle a participé à des concerts de musique de chambre du CNA et au Chamberfest d’Ottawa.
Avant de faire partie de l’Orchestre du Centre national des Arts, elle a été assistante flûte solo à l’Orchestre symphonique d’Edmonton et flûte solo aux orchestres symphoniques de Laval et du Saguenay–Lac-Saint-Jean. Elle s’est aussi produite avec Les Violons du Roy, l’Orchestre Métropolitain et l’Orchestre symphonique de Montréal.
Stephanie Morin a suivi sa formation musicale à Montréal, étudiant auprès de Carolyn Christie au Collège Marianopolis, de Denis Bluteau à l’Université McGill et de Marie-Andrée Benny au Conservatoire de musique de Montréal, où elle obtenu une maîtrise en interprétation pour la flûte. Elle a remporté le Concours OSM, le Concours de musique du Canada, le Prix d’Europe et le Concours de concertos d’Orchestra Toronto.
Yosuke Kawasaki currently serves as Concertmaster of the NAC Orchestra and Guest Concertmaster of the NHK Symphony Orchestra in Tokyo. His versatile musicianship allows him to pursue a career in orchestra, solo, and chamber music. His orchestral career began with the Montgomery Symphony Orchestra and soon led to the Mito Chamber Orchestra, the Saito Kinen Orchestra, and the Japan Century Orchestra, all of which he led as concertmaster. His solo and chamber music career spans five continents, collaborating with artists such as Seiji Ozawa, Pinchas Zukerman, and Yo-Yo Ma and appearing in the world’s most prestigious halls such as Carnegie Hall, Suntory Hall, and the Royal Concertgebouw.
Yosuke’s current regular ensembles are Trio Ink and the Mito String Quartet. His passion for chamber music led to his appointment as Music Director of the Affinis Music Festival in Japan. He is also an artistic advisor to the chamber music festival Off the Beaten Path in Bulgaria.
As an educator, Yosuke has given masterclasses and performed alongside students in schools across Canada. Well-versed in the string quartet literature, he was entrusted by Seiji Ozawa as the youngest faculty member of the Ozawa International Chamber Music Academy at age 26. He was also an adjunct professor of violin at the University of Ottawa School of Music from 2013 to 2022 alongside the beloved pedagogue Yehonatan Berick.
Yosuke began his violin studies at age six with his father, Masao Kawasaki, and Setsu Goto. He was subsequently accepted into The Juilliard School Pre-College Division, where he furthered his education. He graduated from The Juilliard School in 1998 under the tutorship of Dorothy DeLay, Hyo Kang, Felix Galimir, and Joel Smirnoff.
Yosuke Kawasaki est violon solo de l’Orchestre du CNA et premier violon invité de l'orchestre symphonique NHK à Tokyo. Sa polyvalence artistique lui a permis de faire carrière en musique symphonique, en musique de chambre et comme soliste. Comme musicien d’orchestre, il a fait ses débuts à l’Orchestre symphonique de Montgomery. Il a ensuite été violon solo à l’Orchestre de chambre Mito, à l’Orchestre Saito Kinen et au Japan Century Orchestra. Comme artiste solo et chambriste, il a fait carrière sur cinq continents. Il a collaboré avec des musiciens comme Seiji Ozawa, Pinchas Zukerman et Yo-Yo Ma, et s’est produit dans les plus prestigieuses salles du monde, dont le Carnegie Hall, le Suntory Hall et le Royal Concertgebouw.
Yosuke est actuellement membre de deux ensembles, Trio Ink et Mito String Quartet. Passionné de musique de chambre, il est directeur musical du Festival de musique Affinis au Japon. Il est aussi conseiller artistique d’un festival de musique de chambre bulgare appelé Off the Beaten Path.
En tant qu’enseignant, Yosuke a œuvré partout au Canada, offrant des classes de maître et jouant avec des élèves dans leurs écoles. Spécialiste du répertoire pour quatuor à cordes, il est devenu à 26 ans le plus jeune enseignant de l’académie internationale de musique de chambre Ozawa, un poste qu’il s’est vu confier par Seiji Ozawa. Il a aussi été professeur adjoint de violon à l’Université d’Ottawa de 2013 à 2022, aux côtés du très aimé pédagogue Yehonatan Berick.
Yosuke a commencé le violon à l’âge de six ans, d’abord sous la tutelle de son père Masao Kawasaki, puis sous celle de Setsu Goto. Il a par la suite été accepté dans la section précollégiale de l’école Juilliard, et a été diplômé de cette institution en 1998. Il y a étudié auprès de Dorothy DeLay, Hyo Kang, Felix Galimir et Joel Smirnoff.
Described as a "pure chamber musician" (The Globe and Mail) creating "moments of pure magic" (Toronto Star), Canadian cellist Rachel Mercer has appeared as a soloist and chamber musician across five continents.
Grand prize winner of the 2001 Vriendenkrans Competition in Amsterdam, Rachel is Principal Cello of the NAC Orchestra in Ottawa and Co-Artistic Director of the "5 at the First" Chamber Music Series in Hamilton and Orleans, Ontario. Rachel plays with the Mercer-Park Duo, the St. John-Mercer-Park Trio and the Ironwood Quartet, and was cellist of the JUNO award-winning piano quartet Ensemble Made In Canada (2008-2020), the AYR Trio (2010-2020), and the Aviv Quartet (2002-2010). She has given masterclasses across North America, South Africa and Israel and talks on performance and careers in music.
An advocate for new Canadian music, Rachel has commissioned and premiered over 30 works, including cello concerti by Stewart Goodyear and Kevin Lau, as well as solo and chamber works by Vivian Fung, Andrew Downing, Alice Ho, David Braid, Kelly Marie-Murphy, John Burge, and Jocelyn Morlock. Recent chamber and solo albums include Kevin Lau: Under A Veil of Stars (Leaf Music), Our Strength, Our Song (Centrediscs), John Burge: One Sail (Naxos), Alice Ho: Mascarada (Centrediscs), and from 2012, the complete Bach Suites (Pipistrelle) with the 1696 Bonjour Stradivarius Cello from the Canada Council for the Arts Musical Instrument Bank. Rachel currently plays a 17th-century cello from Northern Italy.
Qualifiée de « chambriste authentique » (The Globe and Mail) qui sait créer des « moments de pure magie » (Toronto Star), la violoncelliste canadienne Rachel Mercer s’est produite comme soliste et chambriste sur cinq continents.
Lauréate du Grand Prix Vriendenkrans d’Amsterdam (2001), elle est violoncelle solo de l’Orchestre du CNA à Ottawa et codirectrice artistique de la série de concerts de musique de chambre 5 at the First à Hamilton et à Orléans, en Ontario. Elle est membre du duo Mercer-Park, du trio St. John-Mercer-Park et du quatuor Ironwood, et a été violoncelliste pour le quatuor pour piano Ensemble Made in Canada, lauréat d’un prix JUNO (2008-2020), pour le trio AYR (2010-2020) et pour le quatuor Aviv (2002-2010). Elle a donné des classes de maître en Amérique du Nord, en Afrique du Sud et en Israël ainsi que des conférences sur le jeu et les carrières en musique. Participant activement à la diffusion de la musique canadienne contemporaine, elle a commandé et joué plus de 30 compositions, dont des concertos pour violoncelle signés Steward Goodyear et Kevin Lau et des œuvres solo et de musique de chambre de Vivian Fung, Andrew Downing, Alice Ho, David Braid, Kelly-Marie Murphy, John Burge et Jocelyn Morlock.
Parmi ses récents albums de musique de chambre et d’œuvres solo, on compte Kevin Lau: Under A Veil of Stars (Leaf Music), Our Strength, Our Song (Centrediscs), John Burge: One Sail (Naxos), Alice Ho: Mascarada (Centrediscs), ainsi que les suites complètes de Bach (Pipistrelle, 2012) jouées sur le violoncelle Stradivarius Bonjour de 1696 provenant de la Banque d’instruments de musique du Conseil des arts du Canada. Rachel Mercer joue actuellement sur un violoncelle fabriqué au XVIIe siècle en Italie du Nord.
Frédéric Lacroix has performed in Canada, the United States, Europe, and Asia as a soloist, chamber musician, and collaborative pianist. As such, he has performed with many important musicians, including Branford Marsalis, Johannes Moser, Kathleen Battle, Alexander Rudin, and some of Canada’s most noted musicians. He has made regular radio appearances on CBC and Radio-Canada in Canada as well as NPR in the U.S. Frédéric is also active as a composer, having composed for Ottawa Chamberfest, the Society of American Music, the Canadian University Music Society, the Chœur Classique de l’Outaouais, and other noted Canadian musicians.
Frédéric Lacroix s’est produit en concert comme soliste, chambriste et pianiste collaborateur à travers le Canada, les États-Unis, l’Europe et l’Asie. Il a ainsi joué avec plusieurs artistes de premier plan, dont Branford Marsalis, Johannes Moser, Kathleen Battle, Alexandre Roudine et certains des plus grands noms de la musique au Canada. On peut l’entendre régulièrement sur les ondes de Radio-Canada et de CBC ainsi que sur celles de NPR aux États-Unis. Également compositeur, il a écrit pour le Chamberfest Ottawa, la Society of American Music, la Société de musique des universités canadiennes, le Chœur classique de l’Outaouais et des interprètes canadiens de renom.
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