Last updated: June 2, 2022
REENA ESMAIL Tuttarana for brass quintet
ANDREW STANILAND Allusions for oboe and clarinet
KELLY-MARIE MURPHY Glacial Ablations for oboe and piano
JACOB TER VELDHUIS Garden of Love for oboe and soundtrack
SIMON BOURGET Élégie and Toccata from Trio pour cor, violoncelle et piano, Op. 7
Hailing from Dieppe, New Brunswick, French horn player and composer Simon Bourget has been second horn with Orchestre Métropolitan (OM) since 2017 and principal horn with Orchestre symphonique de l’Estuaire (Rimouski, Québec) since 2016. His career has led him to perform with many notable Canadian ensembles, including Orchestre symphonique de Montréal, Opéra de Montréal, Les Violons du Roy, Sinfonia Nova Scotia, the Katcor horn quartet, and the baroque orchestra Ensemble Caprice, among many others. He holds degrees from the University of Moncton, McGill University, and Université de Montréal. Bourget began composing from a young age; among his recently completed works include a horn concerto for his OM colleague Louis-Philippe Marsolais, and a Trio for horn, cello, and piano—two movements of which you’ll hear tonight. Élégie was originally commissioned by Ottawa Chamberfest and was premiered in August 2021. The complete Trio will have its first performance in October 2022.
Bourget shares the following description for his Trio:
The Trio for Horn, Cello and Piano, known as the “Pathétique,” uses musical language inspired by the composers of the first half of the 20th century. Polytonality, dissonance, syncopated and uneven rhythms, sudden mood changes—these are all writing techniques of which I am particularly fond, and that open up an aestheticism that I like to describe as Machiavellian. As a professional musician by training, I’m drawn to an instrumental writing style that is as idiomatic as it is effective. It’s important to me that each part can be played with natural ease.
The first movement, Élégie, whose variable form has a plaintive tone, is in sonata form. The lyrical theme of the exposition is introduced by the cello, then reintroduced by the horn in the recapitulation. The development is more mysterious and uncertain, with a lighter theme. The end of this movement hints at a rather dream-like motif that will be picked up in the trio’s third and fourth movements.
The second movement, Toccata, is a free-form movement characterized by brilliant figures, virtuosity and rhythmic energy. The theme, which recurs quite often, becomes more and more impetuous, with an increasingly powerful sound due mainly to the nature of the horn.
Principal Horn with the National Arts Centre Orchestra since 2002, Lawrence Vine has also served as Principal Horn with the Calgary Philharmonic Orchestra, the Winnipeg Symphony Orchestra, and the Manitoba Chamber Orchestra.
A much sought-after chamber musician, Lawrence has performed with Andrew Dawes, Lynn Harrell, Joseph Kalichstein, Anton Kuerti, Malcolm Lowe, Menahem Pressler, Pascal Rogé, David Schifrin, Joseph Silverstein, and Pinchas Zukerman. He regularly performs at home and on tour with the National Arts Centre Wind Quintet, a highly acclaimed ensemble that has recorded for the Naxos label.
As a soloist, he has appeared with the National Arts Centre Orchestra, the Winnipeg Symphony Orchestra, the Manitoba Chamber Orchestra, and Ottawa’s Thirteen Strings Chamber Orchestra. His festival credits include the Santa Fe Chamber Music Festival, the Banff Centre for Fine Arts, Cleveland’s Kent/Blossom Music, the Ottawa International Chamber Music Festival and Ottawa's Music and Beyond Festival.
An active teacher and clinician, Lawrence is proud to teach the horn studio at the University of Ottawa's School of Music. He previously taught at the University of Manitoba, and has presented masterclasses at the Manhattan School of Music, Baltimore’s Peabody Conservatory, Chicago’s Roosevelt University, Toronto’s Royal Conservatory of Music, Wilfrid Laurier University, and the Universities of Colorado, Toronto, British Columbia, Calgary and Victoria. He also serves on the faculty of the NAC Summer Music Institute.
The Toronto Globe and Mail has praised his “fine, burnished playing”; the Winnipeg Free Press commended his “delicate phrasing, rounded tone, and sense of poise”; the Ottawa Citizen enthused that his “playing was assured, and his clear sound was remarkably subtle”; and the Montreal Gazette described his playing as “radiant”.