2 Early Music Vancouver 2019 | 2020 Telemann and C.P.E. Bach Chamber Works staff@earlymusic.bc.ca

partners

1254 West 7th Avenue, Vancouver BC, V6H 1B6

tel: 604.732.1610 fax: 604.732.1602

staff@earlymusic.bc.caearlymusic.bc.ca

board of directorsFran Watters

president

Chris Guzy past president

Johanna Shapira vice president

Ron Kruschentreasurer

Ilia Korkhsecretary

Sherrill GraceTony Knox

Melody Mason Vincent Tan

÷

José Verstappen cmartistic director emeritus

÷

staffMatthew White

executive & artistic director

Nathan Lorchbusiness manager

Michelle Herrewynen resource development manager

Jonathan Evansproduction manager

Laina Tanaharamarketing & volunteer coordinator

Jan Gatesevent photographer

Murray Paterson Marketing Group

marketing & media relations

Trevor Mangionand

The Chan Centre Box Office Staffemv ticket office: 604.822.2697

Early Music Vancouver gratefully acknowledges the assistance and support of:

GOVERNMENT SUPPORT

FOUNDATIONS

2019-20 PRODUCTION PARTNERS

PRODUCTION PARTNERS IN VICTORIA BC

CORPORATE SUPPORT

We also gratefully acknowledge the generosity of our many donors and volunteers.

thank you!

We acknowledge the support ofthe Province of British Columbia

EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia.

pacificpacificbaroquebaroque

orchestraorchestraalexander weimannalexander weimann

MUSIC directorMUSIC director

THE BRENNAN SPANO FAMILY FOUNDATION

THE DRANCE FAMILYEARLY MUSIC VANCOUVER FUND

Rosedale on RobsonSuite Hotel

VANCOUVER, BC Tony Knox Barrister & Solicitor, Arbitrator

1291 West 40th Avenue,Vancouver, B.C. V6M 1V3 Canadawww.knoxlex.com

Knox & Co. denotes D.A.Knox Law Corporation

Tel: 604 263 5766Cell: 604 374 7916Fax: 604 261 1868Email: tknox@knoxlex.com

Supported by the Province of British Columbia

You can be in good company too!The corporate sponsors of Early Music Vancouver give back to their community through the support of our performances and education & outreach programmes. Their efforts make a meaningful difference for concertgoers and musicians alike.Our wide range of activities offers unique sponsorship opportunities for both large and small companies to support us while also reaching their corporate goals. A range of sponsorship advantages is available, including logo recognition, complimentary tickets for your clients, employee discounts, and many other benefits tailored to your specific needs.

Contact Michelle Herrewynen to discuss how our audience profile may fit with your company’s objectives: 604 732 1610   or   michelle@earlymusic.bc.ca

Early Music Vancouver acknowledges that it operates and performs on the unceded Indigenous land belonging to the Coast Salish peoples, including the territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. We are grateful for this privilege.

earlymusic.bc.ca Telemann and C.P.E. Bach Chamber Works Early Music Vancouver 2019 | 2020 3

the artists

THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING

DEVICE IS STRICTLY PROHIBITED

programme

generously supported by

José Verstappen

Pre-concert chat with host Matthew White at 6:45:

Marc Destrubé

Carl Philipp Emanuel Bach (1714 – 1788)Sonata in d minor for flute, violin and basso continuo Wq.145 (Berlin 1747)

Allegretto LargoAllegro

Georg Philipp Telemann (1681 – 1767)Sonata in D Major for cello and basso continuo(“Der getreue Musikmeister” TWV 41:D6, Hamburg 1728/29)

LentoAllegro LargoAllegro

Jean-Philippe Rameau (1683 – 1764)Concert V in d minor for harpsichord, flute and violin(“Pieces de Clavecin en Concerts”, Paris 1741)

La Forqueray, FugueLa CupisLa Marais

interval

Carl Philipp Emanuel Bach Sonata in D Major for harpsichord and violin, Wq.71 (Potsdam 1747)

Poco adagioAllegro Adagio Menuet I&II

Jean Marie Leclair (1697 – 1764)Sonata in e minor for flute and basso continuo Op.9 No. 2 (Paris 1743)

Dolce: AndanteAllemanda: Allegro ma non tropoSarabanda: AdagioMinuetto: Allegro non tropo

Georg Philip TelemannConcerto Primo in G major for flute, violin, violoncello & basso continuo TWV 43 (“Six Quatuors”, Paris 1730)

GraveAllegroLargo - Presto – LargoAllegro

Marc Destrubé violin

Wilbert Hazelzet traverso

Jaap ter Linden violoncello

Jacques Ogg harpsichord

4 Early Music Vancouver 2019 | 2020 Telemann and C.P.E. Bach Chamber Works staff@earlymusic.bc.ca

Brief description of the EMV’s mandate and activities:

Founded in 1970 and celebrating its 50th anniversary in May 2020, Early Music Vancouver (EMV) has a long-standing international reputation for the presentation, production and study of musical repertoires played on period instruments and using historically informed performance practices. Historically informed performance is an approach to the performance of music which aims to be faithful to the approach, manner and style of the era in which a work was originally conceived. It is based on two key aspects: the application of the stylistic and technical aspects of performance, and the use of historical instruments or replicas of those in use at the time of the music’s composition. The 50th anniversary season in 2019-2020 has, for the first time, seen the organizations’ budget grow to just under $2 million. EMV has become one of the most active and prolific organizations of our type in North America.

About the instrument and the maker:

To mark our 50th anniversary and embark on presenting a whole new repertoire of period performance practices, EMV has commissioned Paul McNulty to build a copy of an instrument originally designed by the Viennese builder Conrad Graf in 1819. This is the instrument that the early romantic composers would have known and for which they were writing.

During Beethoven’s time (and partly thanks to his influence and his demands on contemporary builders), fortepiano construction underwent a substantial development. One of the most influential builders of the time was Conrad Graf. He created an instrument for Beethoven in the last years of his life, offering a 6½-octave range rather than the 5-octave, designed especially to fulfil the demands for larger instruments by Beethoven and contemporaries.

Paul McNulty is an American living in the Czech Republic and is considered the most experienced living builder of copies of 19thcentury fortepianos. Since 1985 he has made more than 220 historical pianos. His customers have included Kristian Bezuidenhout, Malcolm Bilson, Nicolas Harnoncourt, The Chopin Institute in Warsaw, The Glyndebourne Festival, The Amsterdam Conservatory, The Chinese University of Hong Kong, The Royal College of Music and many more.

Why do we need this instrument now?

For years, EMV has maintained and made available to the broader community an outstanding historical instrument collection. Though we own a “stable” of keyboard instruments that trace almost the whole basic history of the keyboard from the late Renaissance to the present, we are sadly still missing a vital piece of the puzzle. This early romantic piano is that missing piece. Hearing the music of late Beethoven, Schubert, Schumann, Mendelssohn, and others, on the instrument for

which it was written is utterly transformative and at the heart of what we value as an organization.

The availability of such an instrument in Vancouver will have a significant and long-term impact on the early music scene in Vancouver, and on the musical community in general. Preliminary plans include festive inaugural performances and workshops by world-renowned artists including Kristian Bezuidenhout and Andreas Staier, a Beethoven piano works cycle featuring a number of young Vancouver keyboard players, and a special two-week summer course focusing on piano works and Lieder from Beethoven to Schubert.

Potential other partners:

Although EMV will be the sole owner of the instrument, it will be available to the UBC School of Music for teaching purposes and for performances. It will also be made available for partnerships with valued arts organizations in and around the city including The Vancouver Recital Society, The Vancouver Chopin Society, The Friends of Chamber Music, The Vancouver Symphony, The Vancouver Opera and more.

Project revenues and expenses:

The cost for a McNulty 6½-octave fortepiano after Conrad Graf, including a padded cover, shipping crate, and shipping costs & insurance presently stands at approximately $100,000 Cdn. As a special gift in honour of the late Dr. Ralph Spitzer, a long-time supporter of EMV, an anonymous donor is willing to match all donations up to $50,000 to help us with the purchase of this instrument.

Help EMV take advantage of a historic gift!An anonymous donor will match all gifts up to $50,000 for the commissioning of an exquisite new copy of an early 19th century fortepiano in celebration of EMV’s 50th Anniversary.

To support this campaign, please contact:

Michelle Herrewynen, EMV Resource Development Manager (Vancouver Society for Early Music)

1254 West 7th Avenue, Vancouver BC, V6H 1B6 | Tel: 604-732-1610 | E-mail: michelle@earlymusic.bc.ca Charitable registration number: BN 10816 7776 RR0001

earlymusic.bc.ca Telemann and C.P.E. Bach Chamber Works Early Music Vancouver 2019 | 2020 5

programme notesBY JUSTIN HENDERLIGHT

In the middle of the Eighteenth Century, European courtiers were expected to be galant. This term first appeared in writings of seventeenth-century authors such as le Chevalier de Méré, who wrote a series of Conversations describing the ideal way to conduct oneself in courts of the nobility. To be galant was to be “sparkling”, “cheerful”, and to know how to insinuate oneself into a conversation. A successful galant courtier would be knowledgeable but not overly learned – in a modern sense, a Renaissance Man rather than a scholar. Some opponents of this aesthetic decried a galant homme as overly effeminate, and yet by the early Eighteenth Century, such protests did not disappear but certainly diminished. In music, embracing the galant aesthetic resulted in certain changes from the more dramatic, contrast-riddled world of the Baroque. “Learned” techniques such as fugues and dense counterpoint gave way to lighter textures where a charming melody reigned supreme over the highly subordinated lower parts. Unexpected changes in harmony or rhythm became not elements to dramatically shock but rather to delightfully surprise. Whereas conversational imitation of musical ideas between parts could sometimes (but not always) be heard as argumentative in earlier styles, imitation almost always sounds flattering and agreeable in the context of the style galant. Not all composers, however, unilaterally adopted this change of ethos in their music as it became fashionable, and older techniques stood alongside the more modern, as evidenced in this programme.

C.P.E. Bach’s Sonata in d minor, Wq. 145 presents us with some hallmarks of the style galant. Imitation between the flute and violin suggest an amorous dialogue, as one part does not counter the other with an immediate contrasting idea but rather frequent confirmations of what came before. Bach delivers surprises such as chromaticism and appoggiaturas (graceful dissonances) in a suave manner so as to delight rather than jar the listener. The bass, as typical in the style galant, seldom engages in the conversation but rather provides an unrelenting foundation, mostly of steady rhythm where the harmony changes relatively slowly and in even increments, giving a sense of nonchalance even at a quick tempo, such as in the third movement.

C.P.E. Bach, incidentally, took over his godfather Georg Philip Telemann’s job in Hamburg when the latter died. Hamburg, as a highly cosmopolitan city, exposed the older Telemann to recent developments in musical style as they became

fashionable. Even though it was composed in 1728 at the emergence of galant music, Telemann already embraced that aesthetic in his Sonata in D major for cello and continuo TWV 41:D6. The work was published in his Getreue Musikmeister, a publication aimed at delineating all of the current styles in the major Western European nations for the edification of musicians and connoisseurs. One of the most salient galant features appears in the first movement – the surprise appearance of triplets in a work where the beat is primarily duple. Such a rhythmic device was novel, considering that movements generally maintained a highly consistent rhythmic character in the music of the preceding decades. The triplets have the effect of a flirtatious laugh, very in keeping with the galant aesthetic.

If Telemann’s 1728 piece looked forward, Rameau’s 1741 publication of his Pièces de Clavecin en Concerts maintained some rather conservative compositional techniques. The fifth Concert in d minor contains three character pieces named after famous musicians of the previous generation: the viola da gamba virtuosi Forqueray and Marais, and the violinist and dance master Cupis. Rameau himself commented on the contrapuntal complexity of the music – a learned, not so galant aspect – when he says in the preface “I thought it necessary to publish a score, because it is necessary that the instruments not get confused with each other.” In fact, it was more common (and cheaper) simply to print only partbooks for the individual players, but for practical reasons, we see Rameau acknowledging the possibility for players to get lost in the musical tapestry he weaves.

The remaining pieces also stand on the more conservative side. Bach’s Sonata for harpsichord and violin strongly resembles those in the vein of his father Johann Sebastian, which is unsurprising given that it was written in 1731 and later revised. At that early date, Bach, in more remote Leipzig than Telemann’s Hamburg, would have had less access to the newest music trends. Italian-trained Jean-Marie Leclair’s Sonata in e minor is equally conservative and completely in the vein of the Italian baroque chamber sonata form popularized by Arcangelo Corelli. Telemann’s so-called Paris Quartets, including the concerto on this programme, use a very baroque equal treatment of voices, as they were written for some of Paris’s most gifted musicians of the day, who were all equally talented. Telemann had a great gift for writing in multiple styles appropriate to the situation at hand, as evidenced on this programme. n

6 Early Music Vancouver 2019 | 2020 Telemann and C.P.E. Bach Chamber Works staff@earlymusic.bc.ca

the artists

Jacques OggMarc Destrubé Jaap ter LindenWilbert Hazelzet

Marc DestrubéAs a concertmaster, Marc Destrubé has played under Sir Simon Rattle, Kent Nagano, Helmuth Rilling, Christopher Hogwood, Philippe Herreweghe, Gustav Leonhardt and Frans Brüggen. He is co-concertmaster of the Orchestra of the 18th Century with which he has toured the major concert halls and festivals of the world. He was concertmaster of the CBC Radio Orchestra from 1996 to 2002, concertmaster of the Oregon Bach Festival Orchestra, and founding director of the Pacific Baroque Orchestra.

He is first violinist with the Axelrod String Quartet, quartet-in-residence at the Smithsonian Institution in Washington D.C., where the quartet plays on the museum’s exceptional collection of Stradivari and Amati instruments. He has also performed and recorded with L’Archibudelli and is a member of the Turning Point and la Modestine ensembles and Microcosmos string quartet in Vancouver.

He has appeared as soloist and guest director with symphony orchestras in Victoria, Windsor, Edmonton and Halifax as well as with the Australian Brandenburg Orchestra, Portland Baroque Orchestra and Lyra Baroque Orchestra. A founding member of Tafelmusik Baroque Orchestra, he has appeared with many of the leading period-instrument orchestras in North America and Europe including as guest concertmaster of the Academy of Ancient Music and of the Hanover Band.

Marc has recorded for Sony, EMI, Teldec, Channel Classics, Hänssler, Globe and CBC Records.

Wilbert Hazelzet Wilbert Hazelzet started his career in 1972 in Musica Antiqua Amsterdam (Marie Leonhardt); he has been principal flautist of The Amsterdam Baroque Orchestra (Ton Koopman) from

1978. He was member of Musica Antique Köln until 1985, and until 1995 he performed with Ensemble Sonnerie London and Cantus Coelln.

Apart from his recitals with Jacques Ogg and lutenist Joachim Held, Hazelzet is a frequent guest in The Lyra Baroque Orchestra Minneapolis, Camerata Kilkenny, Passamezzo Antiguo Bilbao and Musica Amphion Netherlands.

Erato France, Die Deutsche Grammophon Gesellschaft – Archiv Hamburg, edel-Classics Berlin, Harmonia Mundi Germany, Philips, Harlekijn and Globe Holland, Virgin-EMI London and Glossa Music Spain published Hazelzet’s recordings.

Hazelzet teaches at the Conservatories of The Hague and Utrecht; his masterclasses take place at the universities of Salamanca, Granada, Seville, Vancouver, London and Minneapolis.

Jaap ter LindenCellist, gambist and conductor Jaap ter Linden has a long history in the Historical Performance world. His many tours have taken him to countries throughout Europe, Japan, Australia and the United States, often with only the music of Bach in his backpack.

As conductor, he has worked with ensembles such as the Handel and Haydn Society, Philharmonia, Portland and Lyra Baroque; Arion and Tafelmusik; the Wroclaw Symfonie in Poland; Bordeaux Opera in France, and many others, performing repertoire from the 18th and 19th century, from Purcell to Mendelssohn and Schubert.

He has numerous recordings to his name, notably the Bach cello suites, which he has recorded twice. His latest recording, the complete sonatas for cello and piano by Beethoven, with David Breitman, has been released this year. >

earlymusic.bc.ca Telemann and C.P.E. Bach Chamber Works Early Music Vancouver 2019 | 2020 7

With his Mozart Akademie in Amsterdam he recorded the complete Mozart symphonies, to great acclaim.

He finished many years of teaching at the Royal Conserva-tory Den Haag in 2016 when he moved to the United States where he started teaching at Case Western Reserve Univer-sity and the Cleveland Institute of Music in September 2018. His latest tour, in March 2019, brought him to China where he performed all of Bach’s 6 cello suites.

Jacques OggJacques Ogg  is a performer and recording artist on both harpsichord and fortepiano, as well as a conductor. He teaches at the Royal Conservatory in The Hague. He was born in Maastricht (The Netherlands) and studied harpsichord in the city of his birth with Anneke Uittenbosch. In 1970 he went to study with Gustav Leonhardt at the Amsterdam Conservatory, from which he graduated in 1974. He currently serves as Professor of Harpsichord at the Royal Conservatoire in The Hague, where he teaches primarily harpsichord.

Jacques Ogg’s current activities include solo recitals on harpsichord or on fortepiano, concerts with flautist Wilbert Hazelzet. He has been a member of the Orchestra of the 18th Century and has performed regularly with Concerto Palatino.

He is frequently invited to conduct masterclasses and summer courses, among others in Juiz de Fora (Brazil) and Buenos Aires, in Mateus (Portugal), Salamanca (Spain) as well as in Cracow (Poland), Prague and Budapest. He was invited as a juror in competitions such as “Bach Wettbewerb” (Leipzig) and “Prague Spring”. Jacques Ogg is artistic director of the Lyra Baroque Orchestra in Minneapolis/Saint Paul.

UBC/EMV

YOUNG PERFORMERS AT KNOX UNITED

Music of Rosenmüller, Johann Bernhard Bach,

Telemann, and Handel

Baroque Mentorship Orchestra

Sunday, March 15 at 2 pm Knox United Church

5600 Balaclava Street

Admission by donation

PRESENTED IN PARTNERSHIP WITH KNOX UNITED AND EARLY MUSIC VANCOUVER

Host an EMV Guest MusicianDo you have a guest room that often sits empty?

Do you enjoy well-educated, articulate houseguests from across the country and the world?

Do you like Classical music? Would you like to get the ‘inside scoop’

about performing from a professional musician? If your answer to any of these questions is ‘yes’,

then I invite you to consider joining the growing number of EMV supporters who house visiting guest musicians.

Get to know some of the wonderful musicians that come to Vancouver to bring you great music.

Host only when it is convenient for you; all you need to provide is a private room.

For more information please contact Jonathan Evans, Production Manager,

Early Music Vancouver:

specialprojects@earlymusic.bc.ca or 604.732.1610, extension 2004

Special thanks to the following for hosting our guest musicians:

Delma Hemming, Janice & J. Evan Kreider, Marlene LeGates & Al Dreher, Marc White & Joey Schibild, Judy & Bern Storr, Kim & Stuart Smith, Olivia & Nicholas Swindale, Rosemary & Alex Waterhouse-Hayward, Valerie Weeks & Barry Honda, Penny Williams, and Jane & Michael Woolnough.

8 Early Music Vancouver 2019 | 2020 Telemann and C.P.E. Bach Chamber Works staff@earlymusic.bc.ca

Interested in joining the EMV Board?Interested in rolling up your sleeves to help one of the most active and acclaimed musical organizations in our region? The EMV board of directors is a varied and collegial group of individuals dedicated to providing support and leadership to our professional artistic and management team.

We are always interested in hearing from potential new directors and welcome energetic, positive people with broad community connections, business experience, and skills relevant to non-profit governance, including fundraising, leadership, and strategic planning. Directors serve a two-year term, meeting once a month from September to June at Hodson Manor (West 7th Ave and Birch) in Vancouver.

If you have some of this experience and if you would relish a leadership role in building something truly great in our community, please get in touch with us by emailing us your resume and a short note outlining what you feel you can contribute and why taking up the challenge of helping shape EMV interests you.

We look forward to hearing from you!All enquiries can be emailed to staff@earlymusic.bc.ca

4603 Main Street, Vancouver, BC V5V 3R6 tel 1-800-665-0998 st i@st icanada.com

www.s t i canada.com

Classical Music on the DanubeHungary - Slovakia - Austria - GermanySeptember 18 - 28, 2020Experience the rich culture and history of the Danube on the MS AmaViola with the Juno Award-winning Gryphon Trio. Celebrate Beethoven’s 250th anniversary with extraordinary performances including the Vienna Boys’ Choir and the Vienna State Opera.

Classics on the VolgaMoscow - Volga Cruise - St. PetersburgMay 21 - June 4, 2021Join the Gryphon Trio aboard the MS Aleksandra for a feast of classical music as we cruise the Volga and discover the magnificent artistic and cultural heritage of Russia from Moscow to St. Petersburg.

Superb concert series designed by renowned impresario George Zukerman, OC, OBC

Explore more on our website: A German Passion - Best of the Baltics - Greece - India & Sri Lanka

THANK YOU TO OUR VOLUNTEERS!

EMV’s activities are made possible through the generous assistance of many volunteers who offer their time.

We would like to thank the following:

Pam Atnikov, Leslie Bauming, Richard Cameron, Alexandra Charlton, Catherine Crouch, Bill Dovhey, Sandy Dowling, Susan Edwards, Helen Elfert, Beverly Ferguson, Elizabeth Ferguson, Nel Finberg, Jean-Pierre Fougères, Gail Franko, Stanley Greenspoon, Satoko Hashigasako, Delma Hemming, Margaret Hendren, Murray Hendren, Michiko Higgins, Maggie Holland, Gene Homel, Richard Huber, Gigi Huxley, Nancy Illman, Gretchen Ingram, Ron Jobe, Gerald Joe, Susan Kaufman, Martin Knowles, Barb Knox, Susan Larkin, Pat Lim, Cindy Ma, Christina MacLeod, Wanda Madokoro, Kathryn McMullen, Vania Mello, Robert Middleton-Hope, Carole Nakonechny, Tom Nesbit, Sharon Newman, Veronika Ong, Gina Page, Betty Lou Phillips, Jessica Pereversoff, Melanie Ross, Selma Savage, Joey Schibild, Traudi Schneider, Jill Schroder, Eleanor Third, Sharron Wilson.

Interested in joining our volunteer corps? Phone 604.732.1610 for details.

earlymusic.bc.ca Telemann and C.P.E. Bach Chamber Works Early Music Vancouver 2019 | 2020 9

These listings include donations received prior to February 26, 2020

Benefactors ($50,000+The Drance Family * | Barbara Kozier | In memory of Ralph Spitzer Presenters ($10,000-$49,999): Elaine Adair* | Bryan & Gail Atkins* | In memory of Vic Baker | The Mary & Gordon Christopher Foundation* | Helen & Frank Elfert* | Birgit Westergaard & Norman Gladstone* |

Agnes Hohn* | Sharon Kahn* | José Verstappen* Sponsors ($5,000-$9,999):  The Estate of Gunnar Brosamler* | Meredith & Pat Cashion* | RPC Family Foundation* | Tama Copithorne* | Mark De Silva | Dorothy Jantzen* | Tony & Margie Knox* | Janette McMillan &

Douglas Graves* | David McMurtry* | Estate of Lyn Myfanwy | Dr. Katherine E Paton* | Zelie & Vincent Tan* | Jo & Bob Tharalson* | The Lloyd Carr-Harris Foundation | In memory of Peter Wood* | Bruce Munro Wright* | Eric Wyness*

Co-Sponsors ($2,500-$4,999):  The Brennan Spano Family Foundation | Chris Guzy & Mari Csemi* | Delma Hemming* | J. Evan & Janice Kreider* | Ron Kruschen & Louise Akuzawa | Estate of Dr Elizabeth Lamberton | David Layton & Zoe Druick | Melody Mason & Joseph Gilling* | The McLean Foundation | Pam Ratner & Joy Johnson* | Marlene Rausch & Tom Phinney | Johanna Shapira & John Geddes | Dr. Robert S. Rothwell | Anona Thorne & Takao Tanabe* | Fran Watters & Paul Devine* | Matthew White & Catherine Webster | One Anonymous Co-Sponsor

Supporters ($1,000-$2,499): Hugh & Jacqueline Anton* | Colleen & Martin Barlow* | Marti Barregar* | Alan & Elizabeth Bell* | Spencer Corrigal* | Virginia Evans* | Jane Flick & Robert Heidbreder* | Heather Franklyn* | Nancy & David Fraser* | Dr Val Geddes* | Maureen Girvan | Arlene Gladstone in honour of Sharon Kahn* | Sherrill & John Grace* | Ursula Graf* | The Hamber Foundation* | The Elsie & Audrey Jang Fund* | Brian Jones | Edward Kehler* | George Laverock & Jane Coop* | John C. Leighton* | Susanne Lloyd* | Yvonne McLean* | Bill Meyerhoff | Jocelyn Pritchard* | Meredith Quartermain | Tim & Janet Rendell* | Elaine Sawyer in memory of John | Karen Shuster* | Ingrid Söchting & Douglas Todd* | Fumiko Suzuki* | Dr. Carol Tsuyuki* | Urban Impact Recycling* | Gale Walker* | Bruno Wall* | James Walsh* | Karen Wilson* | Michelle Herrewynen & Alan Woodland | Jane & Michael Woolnough | Two Anonymous Supporters

Patrons ($500-$999): Christina Burridge* | Larry & Maggie Burr* | Andrew J A Campbell* | Mark Tindle & Leslie Cliff* | David Gordon Duke | Keith Farquhar & Koji Ito* | In memory of Eve Farson* | Charles & Lucile Flavelle Family Fund* | Michael Fuhrmann | Paul and Suzanne Geimer | Ruth Gill | Beth & Robert Helsley* | David Jennings | Ron Jobe | Joseph & Jeanette Jones | Lars & Anne Kaario* | In honour of Sharon Kahn | Joy and Tasos Kazepides* | Marianne Klein | In Memory of Harold Knutson | Michael Kobald* | Paula Kremer* | Peter Kwok* | Janet & Derwyn Lea* | Evelyn Leaf* | Leslie Loving* | Graeme & Paddy Macleod* | Marta & Nicolas Maftei* | In honour of Natalie Mackie | Lucie McNeill* | In memory of Greg Muller | Geoffrey Newman* | Margaret O’Brien* | Stephen Partridge* | David M. Phillips* | Mike Rampf | Mary Roberts | Nancy Jean Ross | Rick & Helma Sawatzky | Allan Sawchuk | John Schreiner* | Alison Stockbrocks | Tom & Margaret Taylor* | Valerie Boser & Patrick Tivy | Raymond M. Thompson | David & Susan Van Blarcom | Nicholas Voss* | Wawanesa Insurance | Michael Stevenson & Jan Whitford | Kenichiro Yamanaka | Jennifer & Kenneth Yule* | Three Anonymous Patrons

Friends ($100-$499): Tina & Ben Adcock | Pernilla Ahrnstedt | Barbra Arnold | Dr. Patricia Baird* | Rob Baker | Denise Ball* | Janet Becker | Jeremy Berkman & Sheila McDonald* | Richard Bevis* | Patricia Birch* | Joost Blom | Lesley Bohm* | Janine Bond* | Kathleen Bourchier | Norma Boutillier | Dan & Ursula Bowditch | Paul & Joyce Bradley* | Dr. Nonie Brennan | Mary Brown* | Bill & Sandra Bruneau* | Janet Brynjolfsson & Ray Grothe | Richard Cameron | In honour of Elizabeth Campbell | Claire Carbert | David Chalmers | Sheldon & Marilyn Chandler | Pansy Chau | David Chercover* | Gillian Chetty | Christine Elliot Law Corporation | Marylin Clark* | Abe Cohen* | Peter & Hilde Colenbrander* | Gillian & Mike Collins* | Michael Collins* | Ron Costanzo* | In Memory of Daniel Craig | Shelagh Davies* | Tony Dawson | Lorea DeClercq* | Marc Destrubé & Anna Goren* | Barbara Dill | Beatrice Donald* | Susan Edwards* | Josine Eikelenboom* | Electronic Arts Research | Ruth Enns* | David Fallis & Alison Mackay* | Dr. Marguerite Fauquenoy* | Martin Ferera | Elizabeth Ferguson | In honour of Leslie J. Field | Alex Fisher & Lisa Slouffman* | Judith Forst* | Irene Fritschi-Nelin* | Andrew Fyson* | Cull Family Fund* | Patrick Gilligan-Hackett* | Frances Gordon | Elizabeth Grace | Susan Grant | Gordon & Kathleen Gray* | Dr Beverley Green* | Elizabeth Guilbride* | Penelope & Lyman Gurney* | John Hall | Mark Halpern | Elizabeth & Keith Hamel* | Paul Gravett & Mark Hand* | Lisa Hansen & Peter Cameron | Dr. Evelyn J. Harden* | Don Harder & Laurie Townsend* | Kim Hart | David Harvey | William M Hay* | Margaret & Murray Hendren | Grace Hermansen | The Henkelman Family* | Ashley & Wendy Hilliard | Ada Ho & Doug Vance | Heather & Bill Holmes* | Barry Honda & Valerie Weeks* | Yan Hu | Ralph Huenemann & Deirdre Roberts | Elizabeth Hunter* | In memory of Judith Ince | Chris Jacques | Dr. PJ Janson | France-Emmanuelle Joly | Karen Jones | Valerie Jones | Patrick Jordan* | Dr. Stanislava Jurenka* | Douglas Justice | Lynn Kagan* | Dr Harry Karlinsky | Linda Kehler | Mira Keyes | Bela Kiss | In Memory of Harold Knutson | Barbara Kops | Ilia Korkh | Dalton Kremer | Drs. Nicholas & Patricia Lee | Marlene Legates | Cindy Leung | Gary Ley | Audrey Lieberman | Ursula Litzcke | Steven Lo | Janet Lowcock | In memory of Catherine Graff MacLaughlin* | Wanda Madokoro | Shelley Main | E. J. Makortoff* | Emil Marek* | Patrick May | In memory of Christopher McCrum* | James McDowell* | Alice McGinnis | Ray McGinnis | William McKellin | Peter Mercer | Patricia Merivale* | Colleen Midmore | Michael Millard | Barbara Moon* | Yolaine Mottet | Marguerite Mousseau | Linda Mueller | Wesley Mulvin | Alfred & Jennifer Muma* | Sarah Munro* | Dieter Nachtigall | Lee Napier | Sharon Newman* | Heather Nichol | Henry Numan* | Celia O’Neill | Wilfried Ortlepp* | Julie Ovenell | Elizabeth Paterson | Jane L Perry | JoAnn Perry* | Chantal Phan | Dan & Jan Phelps | Clare Philips | Hannelore Pinder | Anne Piternick* | David & Pat Plackett | Monique Prudhomme | Thomas Querner* | Dr. Rebecca Raglon | Henry and Susan Reece | Margot Richards | Peter & Kay Richards | Marika Roe | In memory of Peter Rohloff | Peter & Elfriede Rohloff* | Rhona Rosen* | Martha Roth | Chris Sallis | Selma Savage* | Erna Schaefer* | Iris Schindel | Traudi Schneider* | Stuart & Wendy Scholefield* | Verna Semotuk* | Shirley Sexsmith* | Juliet Simon | Gareth Sirotnik | Leah Skretkowicz | Colleen Smith | Rosalie Soregaroli | M L Stewart* | Patricia Evans & John Stonier* | G. Storey* | David & Lorraine Stuart | David & Eileen Tamblin* | Agnes Tao & Nelson Cheung | In memory of Becky Tarbotton | Lynne Taylor* | Kathy Thomas | Douglas Todd | Grant Tomlinson* | Pat Unruh | Helena Van der Linden | Robert Vandersanden | Elinor Vassar* | Leah Verdone | Mark Vessey | Barbara M. Walker* | In memory of Ulli Walker | Heddi & Tony Walter* | Norma Wasty* | Jim Wearing | Gwyneth Westwick* | John & Hilde Wiebe* | Elizabeth Wilson & Lauri Burgess | Audrey Winch* | Geoff Wing | Nancy Wong* | Dale & Ted Wormeli* | William J Worrall* | Reece Wrightman* | Elizabeth H. Yip | Yolanda Zeng | George Zukerman & Erika Bennedik | In memory of Becky | Twenty-eight Anonymous Friends

Donors ($25-$99): Jill Bain | James & Gabrielle Barrett-Lennard | Richard Beecher* | G. Pat Blunden* | David Brent | Edgar Bridwell | Gordon Briggs | David Bronstein | Alexandra Charlton | Norma Chatwin* | Brian Coleman* | Bette Cosar* | Greg Cross* | Bing Dai | Judith Davis* | Mary Davison | Jacqueline Day | Dr Gaelan de Wolf* | Colleen Dixon | Anne Duranceau | Gary Dunn | Gail Edwards | Jonathan Fink | Kenneth Friedman* | Joe Gilling | Jason Hall | Lois Johnson | Susan Johnson | Sylwia Karwowska | Heather Kennedy | Janet Kidnie | In Memory of Harold Knutson | Yolande LaFleur | In memory of Edgar Latimer* | Fiona MacKay | Reva Malkin* | Danielle Papineau | Scott Paterson* | Catherine Pedersen | Caroline Penn | Jenny Price | Lyse Rowledge | David Ryeburn* | In honour of Verna Semotuk | Kathryn Simonsen | Brian Sutherland | Mr. Ronald Sutherland* | Beverley Taylor* | Barbara Turner | Teresa Vandertuin | Esther Vitalis | In Honour of Valerie Weeks | In honour of Alexander Weimann | C & H Williams* | Nineteen Anonymous Donors

Early Music Vancouver gratefully acknowledges our many contributors & donors, who play a vital role in supporting the well-being of our organisation, and ensuring our continuing success. Thank you!

* A Special Thank-You to our Loyal Long-Time DonorsThe names in these listings which are marked with an asterisk [*] indicate donors who have supported Early Music Vancouver annually for five years or more. Their loyal and ongoing generosity has been especially valued, and has helped ensure that we can plan our annual projects & seasons with confidence and with a solid sense of security. Thank you!

early music vancouver | donors and supporters

We also gratefully acknowledge the select group of donors who, in addition to their annual donations, have generously contributed to Early Music Vancouver’s Endowment Fund – which is administered by the Vancouver Foundation, and which currently stands at over 1.8 million dollars. Interest from this Fund will continue to support our performances & activities in perpetuity.

early music vancouver | endowment fund donors

($100,000+): The Drance Family Early Music Vancouver Fund ($20,000+): Vic & Joan Baker | Ralph Spitzer & Hisako Kurotaki | José Verstappen | Two Anonymous Donors ($5,000+): A donation in memory of Tom Blom | Frank & Helen Elfert | Marianne Gibson | The Nemetz Foundation | Dr Katherine E Paton | Marcia Sipes | A donation in memory

of Peter Wood ($2,500+): The RPC Family Foundation | Maurice & Tama Copithorne | Heather Franklyn | Tony & Margie Knox | James C. & Wendy Russell | Anona Thorne &

Takao Tanabe ($1,000+): A donation in memory of Mrs Betty Drance | Patrick Gilligan-Hackett | Dorothy Jantzen | Ottie Lockey & Eve Zaremba | Susanne Lloyd | Greg Louis |

Glenys McDonald | Dr Robert S Rothwell | Karen Shuster | Zelie & Vincent Tan | Lorna Weir | Four Anonymous Donors (up to $1,000): Evelyn Anderson | Alan & Elizabeth Bell | Meo Beo | Jeffrey Black & Mary Chapman | L & C Bosman | A donation in memory of C Y Chiu |

Mary Christopher | Gillian & Mike Collins | A donation in memory of Basil Stuart-Stubbs | Judith Davis | Jane Flick & Robert Heidbreder | Dr Val Geddes | Margot Guthrie | Linda Johnston | Peter Kwok | Elizabeth Lamberton | Rob Mayhew | Janette McMillan & Douglas Graves | Benjamin Milne | Alberto Mondani | A donation in memory of Nikolai Korndorf | Alfred & Jennifer Muma | Barbara Murray | Judith & Greg Phanidis | Connie Piper | Pam Ratner & Joy Johnson | Joan Rike | Elfriede & Peter Rohloff | David Ryeburn | Jo & Bob Tharalson | John Tulip | James Walsh | Fran Watters | Glenys Webster & Paul Luchkow | Donations in honour of Spencer & Pam Corrigal | Five Anonymous Donors

Insert - b Early Music Vancouver 2019 | 2020 Telemann and C.P.E. Bach Chamber Works staff@earlymusic.bc.ca