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Avez-vous déjà lu notre dernière revue? Sinon, vous pourriez toujours l’accéder ici :
Have you read our latest bulletin? If not, you can always access it here:
Revue / Bulletin Vol. 25 No. 2

Concerts à venir: | Upcoming concerts

Mis-en-vedette: | Spotlight on: Federico Andreoni
        Biographie | Biography
        Interview [anglais seulement]

Un orgue cherche une nouvelle maison | An organ seeks a new home

Êtes-vous musicien/ne liturgique? | Are you a liturgical musician?

Sollicitation de contributions | Call for contributions

Le Conseil d'administration | The executive

Concerts à venir

La série Orgue Avenir continue à l’église Saint-John-the-Evangelist à Montréal. Le dernier concert aura lieu le 24 novembre à 15h00. Yves-G. Préfontaine présentera des œuvres de Titelouze, Scheidermann et Krebs.

La série des récitals-midi d’orgue McGill continue chaque vendredi à 12h30 à la Salle Redpath à Montréal. William Porter jouera le 22 novembre et Marc MacDonald – le 29 novembre. Le 6 décembre Mark McDonald, Adrian Foster et Jonathan Vromet nous présenterons un concert en trio en collaboration avec le Festival Bach de Montréal.


Mise-en-vedette | Spotlight on


Federico Andreoni, Music Director at Saint-John the Evangelist church in Montréal, QC.

Photo by Afra Tucker
Federico Andreoni est maître de chapelle et organiste titulaire de l’église St. John-the-Evangelist à Montréal. Il y sert également de représentant pour le Quartier des Spectacles. Étudiant au doctorat en théorie musicale à l’Université de Toronto sous la supervision de Don McLean, doyen de la faculté, Federico y est aussi chargé de cours à la faculté de musique de la meme université.
 
Federico a amorcé sa carrière de concertiste à dix-sept ans et depuis il n’a cessé de participer à des séries de concerts et de festivals à travers l’Europe et l’Amérique du Nord.  Il a participé à des enregistrements d’émissions de radio et de télévision canadiennes, françaises, suisses et italiennes. Âgé d’à peine vingt-cinq ans, il proposa, en seize récitals, la totalité des œuvres de J. S. Bach, et l’année suivante, des œuvres de D. Buxtehude et J. Alain.
 
Avant d’immigrer au Canada, Federico a décroché des diplômes en piano et en orgue  de l’Académie Internationale de Musique de Milan, et étudié au Conservatoire national supérieur de musique de Genève sous la supervision de Lionel Rogg, où il a remporté le Premier prix de Virtuosité ainsi que le Prix spécial Otto Barblan. Il a également obtenu une maîtrise en interprétation d’orgue dans la classe de William Porter à l’école de Musique Schulich de l`Université McGill et une maîtrise en théorie musicale sous la direction de Christoph Neidhoefer et Jonathan Wild. Depuis 2007, Federico récolte les plus prestigieuses bourses et distinctions pour ses accomplissements (Prix Outstanding Achievement et High Distinction) et la médaille d’or Salsinger Tani en interprétation à l’orgue. Et plus récemment, on lui a décerné le Prix Olympia Garibladi-Galavaris pour ses recherches en musique ancienne. 
Il a récemment reçu un University of Toronto Fellowship et la Jeanne Anson-Cartwright Memorial Graduate Fellowship in Music History/Music Theory.
Federico Andreoni is Director of Music at the Church of St. John the Evangelist in Montreal, where he was Artist-in-Residence from 2008 to 2011. He also serves as the representative of the Parish to Montreal’s Quartier des Spectacles. In addition, Federico is a doctoral student in musicology/music theory and teaches at the University of Toronto.

Originally from Milan, Federico began his concert career as an organist at the age of seventeen. Since then he has performed in concert seasons and festivals throughout Europe, the United States, and Canada, and has recorded for Canadian, French, Italian, and Swiss radio broadcasts. At the age of twenty-five, he performed the complete organ works of J. S. Bach in a series of sixteen recitals in Lugano (Switzerland). He is performing the opera omnia by J. S. Bach again (in 2013-2014-2015), on the Wolff organ op. 27 (1984) of the church of St. John the Evangelist in Montreal. In 2004 and 2011 he also performed the complete organ works of D. Buxtehude, and in 2005 those of J. Alain. 
 
He is also active as a composer; his compositions have been performed in concert series, festivals, and conventions in France, Germany, Switzerland, and the United States. 


Federico earned diplomas in organ and piano from the International Music Academy in Milan, and the Premier Prix de Virtuosité and the Prix Spécial Otto Barblan in the organ class of Lionel Rogg at the Conservatoire National Supérieur de Musique in Geneva. More recently, he completed two Masters degrees at the Schulich School of Music of McGill University in Montreal: an M.Mus. in Organ Performance, in the class of William Porter, and an M.A. in Music Theory, under the supervision of Christoph Neidhoefer and Jonathan Wild.
 
While at McGill, he was awarded prizes for, among others, Outstanding Achievement and High Distinction, as well as the Salsinger Tani Gold Medal in Organ Performance and the Olympia Garibaldi-Galavaris Prize for excellence in research on early music. He was the recipient of a Government of Canada Social Sciences and Humanities Research Council (SSHRC) grant, the J.-Armand Bombardier research grant, for his thesis research on the music of the French composer Jean-Louis Florentz. More recently, he was awarded a University of Toronto Fellowship, the Jeanne Anson-Cartwright Memorial Graduate Fellowship in Music History/Music Theory, and a second SSHRC research grant, which supports his research in the use of improvisational techniques in North German Baroque music.
Mr. Andreoni, how and why did you start to play the organ?
 
In his youth, my father was a professional organist and instrument collector. I grew up in a house full of scores, LPs (and, later, CDs), and instruments of all sorts, in particular keyboard instruments (including a beautiful virginal and an 18th century Neapolitan organ). When I was about six my father had a small two-manual house organ built at home. Following the organ builders at work, helping them carry pipes and other parts of the instrument around, and watching them put together that complex machine was extremely fascinating. Once the organ was finished, I was too small to reach the pedals, so I had to limit my repertoire to manualiter pieces, or have my father or older friends play the pedal part for me. However, later on I enjoyed immensely the opportunity of performing so much organ repertoire, at home, on my very own instrument. I have wonderful recollections of those formative years, which are still very much alive in my memory. My father would also often take me with him to church on Sundays; there I became acquainted with the organ as a church instrument, and was completely blown away by the large acoustics of those ancient buildings (as you can imagine, a completely different acoustical environment from our house!). To answer your question more succinctly, I started playing the organ because that instrument had a powerful impact on me at a very young age, and because it was always there with me; it was like having a dear friend always happy to play. I would say that my relationship with the organ started as a friendship, and then developed into my passion and profession.


What was your first professional experience as organist?
 
When I was about ten I started singing in a boy choir in a parish near Milan. I then became substitute organist in the same parish, and in other churches. I was officially appointed organist in a parish in Milan at the age of 14, on an  interesting historic instrument that included pipes from the seventeenth Century.


Since when do you work at Saint-John the Evangelist?
 
I first started helping out in 2005 by playing the organ on Sundays, and accompanying the choir, then became the first Artist-in-Residence of the parish, Interim Music Director, and, finally, Music Director in April 2012. 


What musical events do you produce at Saint-John the Evangelist?
 
We currently host organ concert series on our beautiful Wolff op.27 (Orgue Avenir in November of 2013, and my own Bach series Bacchanalia in the Spring of 2014), and I have plans for a larger-scale event to celebrate the thirtieth anniversary of the instrument next year (1984-2014). However, organ music is only a part of our rich musical life. In May of 2014 we will host a choir festival, with a varied mix of gospel, medieval, Renaissance, and contemporary music. Moreover, we will host a contemporary music event in the Spring, and we are developing a larger Baroque/educational project involving institutions and musicians from Montreal. Of course music in the liturgy remains essential for us: we now have a fully professional ensemble specializing in Renaissance polyphony, and have created a regular collaboration with Ensemble Scholastica, a medieval music ensemble which sings at St. John's once a month and is now an integral component of our music programme.


What are your current artistic projets?
 
Right now I am focusing on organizing the musical life at St. John's, developing a variety of areas (e.g. the medieval and concert components), and, of course, taking care of the liturgical music of the parish. In terms of my own solo organ recitals, in 2014 I will perform concerts in Canada, France, Jamaica, Norway, Sweden, and the United States. I am also working on a music theory/musicology publication, will present at conferences in the United States, and I am working on my PhD dissertation about keyboard improvisation in seventeenth century Northern Germany.


When will we have the pleasure of addressing you as Doctor?
 
As soon as possible, I hope! Hopefully by the end of the next academic year.
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The organ at Christ Lutheran Church in Winnipeg, Manitoba is seeking a new home!


It is a wonderful and historic instrument and would be well suited to a medium or larger building. If anyone would like to play the organ, they should contact the church administrator, Heidi McCarthy, at 204-339-8119. Her office hours are approximately 9h00 to 13h00, Monday through Thursday. At present the organ is quite out of tune due to on-going problems with a somewhat unregulated steam boiler and also a malfunctioning humidifier. It will be tuned closer to Nov. 24, hopefully when the inside temperature can be more steadily maintained.

For more on the organ's history as well as for a full stop list, click here.

 
Êtes-vous musicien/ne liturgique professionnel ou amateur? Aimez-vous la musique liturgique? Cherchez-vous un réseau spécialisé pour approfondir vos connaissances et rencontrer des collègues? Si oui, joignez-vous à LAUDEM, L’Association des musiciens liturgiques du Canada. LAUDEM cherche à établir des liens avec d’autres organismes musicaux au pays.
Are you professional or amateur liturgical musician? Do you like liturgical music? Are you seeking a specialized network to help you deepen your knowledge and meet colleagues? If yes, join LAUDEM, the Association of liturgical musicians of Canada. LAUDEM seeks to establish links with other music organizations in the country. English services, communication and resources available to non-French speakers.
LAUDEM
LAUDEM
Email LAUDEM
Email LAUDEM
Website LAUDEM
Website LAUDEM

Sollicitation de contributions Call for contributions


Voulez-vous annoncer vos activités avec nous? Notre centre distribue non seulement sa revue 4 fois par année, mais aussi une newsletter une ou deux fois par mois. Envoyez-nous des nouvelles, articles, commentaires, sondages via facebook ou par courriel: rccomontreal@gmail.com

Would you like to publicize your activities with us? Our centre distributes not only its bulletin 4 times a year, but also a newsletter once or twice a month. Send us news, articles, commentaries, questionnaires via facebook or by e-mail: rccomontreal@gmail.com

Le 2013-2014 Conseil d'administration The executive


Président | President: Rafael de Castro
Vice-Président | Vice-President: Christopher Grocholski
Trésorier | Finance officer: Ed Brown
Secrétaire | Administrative assistant: Suzanne Ozorak
Chapelaine | Chaplain: The Reverend Gwenda Wells, prêtresse
VP Concours d’orgue Lynnwood Farnam organ competition: Jonathan Oldengarm
VP Communications: Thomas Leslie
Rédactrice de la revue et de la newsletter | Editor of the bulletin and of the newsletter : Alexandra Fol
VP relation avec les membres et affaires externes | VP Membership relations and external affairs: Pierre Cabana
Archivist | Archivist: David Szanto
Affaires d’étudiants | Student affairs: Alexander Ross and Helen Tucker
Membres à titre personnel | Members at large: Sean Mayes and Peter Binsse
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