Friday, May 6, 2022
Matsqui Centennial Auditorium
32315 South Fraser Way, Abbotsford
Nancy Dahn, violin
Timothy Steeves, piano
For twenty-three years through live performances and acclaimed recordings, violinist Nancy Dahn and pianist Timothy Steeves have built an international career in the Canadian chamber ensemble Duo Concertante. Their name comes from the inscription over Beethoven’s “Kreutzer” sonata, “in stilo molto concertante,” which implies the two performers are equal, dynamic voices. This defines their unique artistic relationship and the “deeply integrated performances that flow naturally as if the music were being created on the spot” (Gramophone). Outstanding musicians, champions of new Canadian music, visionary artistic directors, and inspiring mentors, Duo Concertante have forged a musical legacy and strive to provoke thought and engagement through music in innovative ways.
After their first concert in 1997, the Halifax Chronicle-Herald called Duo Concertante “two packages of musical dynamite that would credit any stage on the planet.” Since then, they have performed in more than 600 concerts across North America, in Europe, Central America and China. Their recitals have received numerous accolades including the following critical quotes from national and international press:
Grace and fire… fury and repose… a triumphant mass of non-stop energy.
Majesty, passion and excitement. Inspiring!
WIENER ZEITUNG (VIENNA)
Artistry, poetry, and impeccable technique.
LA SCENA MUSICALE
Duo Concertante’s recordings have set the benchmarks for musicians around the world. Of their epic recording Beethoven: Complete Sonatas for Violin and Piano (a 3 CD album), preeminent critic John Terauds proclaimed “…these beautiful interpretations are so good right down to the tiniest of details that they deserve to be called a reference in… contemporary performance”. Gramophone writes that Dahn and Steeves “do Atlantic Canada proud in this splendid new set” and describes their interpretation as a “miracle of… knowledge and poetry”. The album received critical praise in German, Austrian, British and Canadian media; it was featured for months on Air Canada’s entertainment system and is heard on CBC radio almost weekly.
Duo Concertante have eleven other acclaimed recordings on top Canadian labels ATMA, Centrediscs, and Marquis. Their first three CDs on the ATMA label were À Deux, Of Heart and Homeland and Wild Honey. It Takes Two (2009) features encore pieces arranged by Canadian composer Clifford Crawley; American Record Guide described it as “spectacular.” Wild Bird (Centrediscs, 2010) comprises works written for the Duo by renowned Canadian composers R. Murray Schafer, Chan Ka Nin, and Kati Agócs, including Schafer’s Duo for Violin and Piano, which won a 2011 Juno Award (Classical Composition of the Year). In 2016, they released their eighth CD, a two-disc set of J.S. Bach’s Sonatas for Violin and Keyboard, for which they received the first of three consecutive ECMAs for Classical Recording of the Year, followed by Incarnation in 2018 and Perfect Light in 2019. Their newest album, Franz Schubert: Music for Violin and Piano was selected by CBC Music as one of “Canada’s Top 20 Classical Albums of 2020.”
Duo Concertante are the founders and artistic directors of the Tuckamore Festival – an internationally acclaimed chamber musical festival held for two weeks each August. For 21 years, Tuckamore – a major contributor to the cultural life of Newfoundland and Labrador – has put the province on the map by welcoming leading artists and emerging musicians worldwide to St. John’s. The Tuckamore Festival has presented more than 140 outstanding guest artists; mentored more than 400 young musicians and composers representing 10 countries around the globe; travelled to more than two dozen communities for school tours and performances; and produced more than 500 performances and events. In addition to Tuckamore, Duo Concertante regularly perform and collaborate with other artists of international stature at summer music festivals throughout North America, including the Ottawa International Chamberfest, Cactus Pear Music Festival, Toronto Summer Music, Festival of the Sound, Indian River Festival, Domaine Forget and Music Niagara.
As champions of Canadian music, Duo Concertante have few equals, and their lasting impact will be a legacy of new works created through their unprecedented commitment to commissioning new works. In 1997, Duo Concertante received their first new work for violin and piano from Canadian composer Clark Ross. Since then, they have been responsible for the creation of sixty-six additional new works and original arrangements for violin and piano by Canada’s leading composers. This includes works by Andrew P. MacDonald (Double Concerto for violin and piano, Op. 51), Alice Ho (Capriccio Ballo, Cœur à cœur), Chan Ka Nin (Cool Mountain Water, Late in a Slow Time, Incarnation), Denis Gougeon (Chants du cœur), Omar Daniel (Wild Honey), Jean Lesage (Portrait of a Sentimental Musician in a Distorting Mirror), Kelly-Marie Murphy (Dance Me to Your Beauty with a Burning Violin), Brian Current (Faster Still with string quartet), Linda Bouchard (Spill Out), Kati Agócs (Supernatural Love), Andrew Staniland (The River within Us…, The Ocean is Full of its Own Collapse), and Jocelyn Morlock (Petrichor, Asylum). The Duo regularly includes new Canadian pieces alongside standard repertoire in such prestigious venues as Wigmore Hall (London), Carnegie Hall’s Weill Recital Hall (New York City), Shanghai City Theatre, the Los Angeles County Museum of Art, Roy Thomson Hall and the Four Seasons Performing Arts Centre (Toronto), the National Arts Centre (Ottawa), and the Forbidden City Concert Hall (Beijing), among others. Duo Concertante’s albums Wild Bird (Centrediscs), Wild Honey (ATMA) and Incarnation (Marquis) are comprised entirely of new works commissioned by the Duo, and a fourth all-Canadian recording is planned for 2022.
Duo Concertante, in collaboration with composers, writers and actors, uses music as a means of drawing attention to issues of historical and social importance. These commissioning projects have focussed on Newfoundland joining Canada (What Was Needed Most), Newfoundland in World War One from the female perspective (Your Daughter Fanny), the Ocean Ranger disaster (The Ocean is full of its Own Collapse), and the immigrant experience (Maples in the Stream). Their most recent school programs not only focus on music in education but also on the challenges youth might face in regard to mental illness, discrimination, and marginalization (What Life Throws at You).
Duo Concertante’s most recent extra-musical project, “Ecology of Being,” is a legacy commissioning program inspired by the climate emergency, climate action and mankind’s reliance on the earth not only for survival but for resilience, mental health and spirituality. Canadian and Indigenous composers Melissa Hui, Ian Cusson, Bekah Simms, Dawn Avery and Carmen Braden provide multiple perspectives and ways of knowing through five new commissions inspired by the climate emergency and what we may be leaving the next generation. In response to restrictions imposed by COVID-19, the Duo developed new forms of creation and communication, incorporating multiple forms of media, in order to premiere this work during Tuckamore Festival’s digital 2020 season. Pre-recorded video performances were streamed alongside synchronous Zoom discussions between composers, performers and audiences, allowing for new ways of sharing knowledge and reflections about the music, creative processes, the environment, and art as catalyst for change. Melissa Hui’s piece, which shares the cycle’s name and combines music, poetry and video, was made into a 21-minute film and won Best Experimental Film and Best Original Score at the 2020 IndieX Filmfest (Los Angeles). The “Ecology of Being” pieces are now being presented virtually in schools throughout Newfoundland and Labrador.
Nancy grew up in rural Nova Scotia surrounded by chickens, pigs, and three smart older brothers. When she was two, her mother rescued a violin destined for the trash heap, proclaiming, “Nancy will play that.” She started taking private violin lessons at age eleven.
Born in Saskatoon, Tim was the son of two university biology professors who introduced him to the wonders of music at a very young age. For a long time, he was unsure whether to be a pianist or French horn player. (Looks like he made the right decision.)