Erik Abbink - Saxophone Blog

Free live streaming video of classical concerts at Medici.tv

2011-07-27T21:44:00.000-07:00

Album sales of classical music have been on the decrease for years now. Finally this downward trend seems to have bottomed out. Digital sales have helped boosting the bottom line of the main labels, and predictions are digital sales will surpass CDs by 2013. But there are other business models popping up in the the classical music recording arena.

Subscription business model

The hottest business model on the block is the subscription based model. For a low monthly fee (usually around $10) you will get access to an overwhelming variety of classical music. Already in 2003, Naxos started off their subscription based streaming audio services with a wide variety of choice; an excellent source for xenophiles like me. I gladly made use of this service during my studies at the University of British Columbia, but, after finishing my DMA I must admit I have not subscribed to their paid service (yet).

First audio, now video

With internet speeds continuously on the increase, on-demand video streaming has become the new normal. In 2008 the now popular Netflix started their subscription based video service, streaming popular TV shows and movies to their US customers. As soon as their subscription became available here in Canada, we signed up and were amazed! It’s got tons of shows and movies, it is a fast on-demand experience, easy to use, and, perhaps one of the best features, there are no annoying commercials.

Classical music, please!

Netflix is great, but how about some serious classical music? Medici.tv to the rescue! Medici.tv streams live concerts free of charge. Yes, free of charge! So where’s the catch?

How Medici.tv will make money

Medici.tv's is hoping that the serious music aficionado would like to have 24/7 access to the medici.tv complete library, which will grow over time. With a free account only the latest live registrations can be viewed for a total of 60 days. To obtain unlimited access to the live registrations, as well as access to several 100s of movies/documentaries on music, one will have to upgrade to a paid subscription (starting at 6.50 euro/month).

Worth it?

Good question, and somewhat hard for me to answer. I think the business model is right, and the free viewing of live concerts will help quickly buzz. But I wonder if the choice of music, which is rather conservative, will connect with a younger (and future) audience?

Conclusion

Medici.tv offers a great service, with reasonable rates for their unlimited on-demand services. Let's hope their choice of live registrations will become more inclusive (think Naxos) soon.

Saxophone education and performance in British Columbia: Early history and current practices

2011-03-30T19:07:00.000-07:00

My thesis is now available for download: Saxophone education and performance in British Columbia: Early history and current practices (pdf)

Five things I have learned from the BC Arts Council Grant Writing Workshop

2011-01-22T13:03:00.000-08:00

Last Friday, 21 January 2011, I spent a day in Vancouver and visited the "Professional Development & Mentoring Session: Grant Writing with Walter Quan."

Here in a nutshell is what I have learned:

1. Develop your projects only after researching the grant program you are thinking of applying for.

2. When sending a recording (CD) to support your application, make sure the music a) is impressive, b) is expressive, c) relates to the project, and d) has the potential to convince the jury immediately (think Malcolm Gladwell's Blink theory of "thin-slicing"). Juries have little time to decide so pick your tracks (especially your first track) very carefully.

3. Remember that all jury members will receive photocopied versions of your support materials. Therefore, do not use highlight markers on your documents (a photocopied version with highlights will actually look as if you tried to censor the document) and be careful when using a design (if any) for your support materials; make sure the design looks good in both colour and on black and white photocopies.

4. There are two handbooks on the First Peoples' Heritage Language and Culture Council website. These e-books can be viewed on any computer. They contain helpful information on writing grants. Just click, download, and enjoy the benefits!
- Arts Portfolio Handbook (PDF)
- First Peoples Grant Writing Handbook (PDF)

5. Walter Quan is great at explaining and clarifying the whole grant process, including what happens after you submit your application: how the jury is chosen, the jury process, etc. For information or feedback he prefers phone calls over emails, so do call him personally for any questions or concerns you might have.

The grant writing workshop was well attended and had an audience of about 45 people (CMC fits 40 comfortably). I thought it was well worth the trip to Vancouver. Thank you Walter (from the BC Arts Council) and the CMC BC for organizing and hosting this workshop for us!

Surviving the culture change (video) - Diane Ragsdale

2010-11-15T21:55:00.000-08:00

In this time of cultural change (which is being accelerated by the economic uncertainty) many of the current arts institutions (yes, the "establishment") need some serious brainstorming in order to find ways to stay current.

There's an excellent video that I can recommend:

Diane Ragsdale on Surviving the Culture Change (Full Remarks) from Arts Alliance Illinois on Vimeo.
Video of Diane Ragsdale's keynote at the Arts Alliance Illinois 2010 Members' Meeting and Reception on June 21 at Steppenwolf Theatre in Chicago, Illinois. For more information, visit artsalliance.org/reception.

Review Palm Court Concert Cowichan Theatre, Duncan

2010-09-29T10:48:00.000-07:00

The original can be found here: http://www.canada.com/Surprise+guest+livens+weekend+Palm+Court+show/3593788/story.html

Full text:

Surprise guest livens up weekend Palm Court Show
by Lexi Bainas

Alex Hassan, a last-minute replacement soloist, flown in from Washington, D.C., charmed the audience at the Palm Court Light Orchestra's season opening concert at the Cowichan Theatre Sunday, Sept. 26.

Conductor Charles Job explained that Frederick Hodges, the pianist who had created such a sensation when he performed with Palm Court in the Valley last year, had to cancel his appearance due to a family emergency.

Cue Hassan, one of Hodge's friends, and another fine performer who's enthusiastic about the music of the 1920s and 1930s, traveled for 14 hours to join the orchestra for a series of three shows this week in Victoria, Cowichan and Sidney.

Through his career, Hassan counts notable performances at the Smithsonian Institute and at a party for the Gershwin family at Manhattan's Players Club.

He's a regular performer at ragtime festivals around North America and is also a favourite in Germany and Britain.
Along with joining the orchestra on their selections, which included such Roaring Twenties faves as "Ain't She Sweet", "My Blue Heaven" and "Tip-Toe Through the Tulips," he also presented medlies plus novelty numbers such as "Sax-o-phun" with Erik Abbink, one of the orchestra's saxophone players.

Another top-class musician brought in for the Palm Court Orchestra's opening concert Sunday was banjo-whiz Afred "Borgy" Borgerson. Over 80, he is a stalwart with the internationally-acclaimed traditional jazz band, the Dixieland Express, but he has deep roots in the Cowichan Lake area and enjoys returning to the Valley.

[Flattr=28798]

Pre-Concert Sidney's Mary Winspear Centre, with pianist Alex Hassan

2010-09-28T18:19:00.000-07:00

West Side Story: "Tonight" and "Something's Coming", by Leonard Bernstein (video)

2010-09-13T20:43:00.000-07:00

I have added another video to my Vimeo video site, recorded at the September 1st concert at Music and Munch at the All Saints' Church by the Sea in Ganges on Salt Spring Island.

Duo Strand Abbink: West Side Story - Leonard Bernstein from Erik Abbink

Saxophone Lessons in Victoria B.C. - with teacher Erik Abbink

2010-09-06T14:09:00.000-07:00

I'm getting ready for the new season and I have updated my lessons page, which you can view here:
Saxophone Lessons in Victoria B.C. - with teacher Erik Abbink

Capricorn's Revenge, by Alfredo Santa Ana (video)

2010-09-04T14:59:00.000-07:00

I have added an new video to my Vimeo video site, recorded at the September 1st concert at Music and Munch at the All Saints' Church by the Sea in Ganges on Salt Spring Island.

Duo Erik Abbink & Nola Strand: Capricorn's Revenge, by Alfredo Santa Ana from Erik Abbink

Capricorn's Revenge (2004) - Alfredo Santa Ana (b. 1980)

Tin Roof Blues, New Orleans Rhythm Kings, for alto saxophone and piano

2010-08-11T17:53:00.000-07:00

I have added a new video to my Vimeo video site:

Erik Abbink: Tin Roof Blues, by the New York Rhythm Kings from Erik Abbink

Classical Saxophone Videos site now online!

2010-07-23T09:24:00.000-07:00

There's a speedily increasing amount of classical saxophone videos available on the internet, and I've started to collect them online at the following website named ClassicalSax

Help needed:
Of course I can't possibly all videos myself so I need your help. Please submit your own classical saxophone performances, or that of your friends or favourite performers around the globe!

How it works:
The process is simple. Click "Submit a Video" and either copy and paste the URL of your video (YouTube, Vimeo, ??) in the submit box, or use the "embed" code for some other video sources.

This site is moderated (to ensure no spam videos gets on) but you can expect the approval process to take no longer than a couple of days.

I look forward to seeing your classical saxophone videos!

Sax-O-Phun - Rudy Wiedoeft by Erik Abbink (saxophone) and Nola Strand (piano)

2010-06-29T20:24:00.000-07:00

I have added a new video shot at one of my rehearsals:

Erik Abbink: Sax-O-Phun, by Rudy Wiedoeft

Enjoy!

Flashback: Glenn Gould Doc now online (dutch subtitles)

2010-06-26T10:14:00.000-07:00

One hour documentary on the timeless artistry of pianist Glenn Gould. Dutch subtitles.

Bekijk de video in andere formaten.

The closing gap of cultural advancement between rural and urban audiences

2010-06-15T20:31:00.001-07:00

There's one (important) factor I forgot to mention in my ad lib 20th century technology list ("gramophone, radio, TV, Internet") of my "new sense of programming" post. It's a less obvious one, but not less important: the ease of travel has changed tremendously.

The invention of 19th century steam trains, steam ships, streetcars/trams, and 20th century automobile and air travel has not only made it easier for (rural) audiences to travel to concerts in the city, it also has made it easier for musicians to tour and perform in more remote locations.

And traveling they did, to communities large and small. Sousa's Band was one of the first large international groups to hit Victoria (in 1892, then a community of about 20.000 people: http://www.britishcolonist.ca/tc/1896/02/04/18960204005.pdf#search=sousas%20%20 - second story from the bottom left), taking advantage of railway and steamship travel.

My wife's grandfather, who's 92, explained to me fairly recently how much the ease of travel has made an impact on day to day life. People living about 20 km outside the city of Victoria didn't travel as easily to the city as we do today: for the majority of people (without a car) such distances were simply too far. Imagine having to do all the effort of having to bike, or go old-style and take a horse and buggy to visit a concert downtown! (only by 1910 were horse and buggy/carriage outnumbered by cars).So question yourself, if travel hadn't changed how large would your audience then be today?

For a long time "city concerts" were visited mostly by those living in the direct vicinity of the venue. Only very few outside the city would have the time, the funds, and were able to muster the effort to travel "long distances"; how much things have changed in a single lifetime.

Scarlatti Sonata K30 by Domenico Scarlatti - Vis-à-Vis Saxophone Quartet

2010-06-15T15:43:00.000-07:00

I have added a new video from our June 5 Concert to Vimeo, namely the Scarlatti Sonata K30 (Cat Fugue) by Domenico Scarlatti

Vis-à-Vis Quartet: Sonata K30, D. Scarlatti.

or view it here

Flashback: 2009 Aurelia Saxophone Quartet with Trombones at the Concert Gebouw Amsterdam (video)

2010-06-15T11:47:00.000-07:00

Talk about extraordinary projects; Aurelia Saxophone Quartet and the New Trombone Collective. Work by Daniel Schnyder - Cubach (Bach in Cuba)

The performance of this work starts at 41:50, and after a 15 second advert you can't bypasss :(

Worth the trouble though :)

Bekijk de video in andere formaten.

On a new sense of programming (part 1)

2010-06-12T21:25:00.000-07:00

It's one of those things you don't get proper training in when going through a Conservatory or University education: concert programming.
To be frank, it has been a while since I did any research on this topic, but a few concepts immediately pop up in my mind.

A program with a theme. Having a theme is a great way to unify a program. This can be an obvious theme (e.g. a collection of Bach suites) or a more adventurous one (e.g. music inspired by "fire", "wind", "London", "1849", and so on).

Another important concept in programming is that of sandwiching "high brow" (read: harder or less accessible works) with "medium or low brow" (read: works enjoyable by general public, e.g. those without a special interest in art music). Although nowadays many critics have criticized this technique as "forcing" less likable works onto an audience, I still believe it has a place in the overall programming process (more to follow on this in a follow up post).

Now I need to come back on what I said earlier, because I did run into a programming "question" once (once only, yes) during my UBC D.M.A. program, when preparing for my final saxophone comprehensive exam (before entering candidacy). The question went something like this:

Prepare two programs; one for a recital in New York Carnegie Hall, and one for a small local chamber music series in Kamloops (B.C.).

Now, the question itself suggests that I should have come up with two different programs, right? Many musicians would support the idea that, because the New York audience is going to be more culturally advanced than the Kelowna audience, one will need to compromise the Kelowna concert with a more suitable, "audience friendly" (whatever that means) program. Right?

I beg to differ, and here's why.

I don't think the New York audience is going to be significantly more advanced than a rural audience. Agreed, urban centres are generally more exposed to cultural activities (think concerts) than rural communities, but times have changed the rural disadvantage, substantially.

During the 19th century Canadian rural communities did of course have a considerable disadvantage compared to urban cities. This difference in cultural savviness was greatly diminished through the advent of gramophone (1900s), radio (1920s), and television (1940s).

Throughout the last century anyone with an interest in serious, non-commercial (read: "classical") music has been able to educate themselves by using the earlier mentioned technologies. And things got even better: most rural communities have now access to high speed internet, making the cultural divide even smaller. And the internet has more to offer than even the biggest city ever will, ranging from downloadable mp3s, to YouTube/Vimeo communities, streaming webcasts, and access to speciality "classical" radio (and podcasts) from around the globe.

Think about that, the next time you program for a rural community. And do some effort (schmooze) to get feedback on your new sense of programming. I can assure you that you will be surprised on the savviness of your audience; I have been, many times ;)

To be continued...

Getting ready for tomorrow's saxophone quartet performance

2010-06-04T20:27:00.000-07:00

All of the members of the Vis a Vis Quartet are getting pretty excited about tomorrow's saxophone quartet concert. We did an early dress rehearsal on Tuesday, and will hit the stage "for real" at 8pm tomorrow (Saturday).

It was great to see a nice article about our quartet and our upcoming performance in the Oak Bay News:
http://www.bclocalnews.com/vancouver_island_south/oakbaynews/entertainment/95350914.html

Further details about the concert can be found here:
http://www.saxophonequartet.ca/concerts/2010-06-05-uvic-recital.php

I hope to see you all at Uvic's P.T. Young's recital hall, admission by donation!

Early "Saxaphone Quartette" in Victoria, British Columbia, Canada

2010-05-11T22:02:00.001-07:00

It has been quite interesting doing my research on early saxophone playing in British Columbia. The earliest record about early local saxophone quartet efforts (that I was able to track down) is from March 8th, 1885, found in the Victoria Colonist under the heading "What Some People Say":

I'm quite curious why this sort of an announcement would have been printed; perhaps there was an anticipation that an ensemble of saxophones had the potential to be long-lasting? Or was it the novelty aspect, the mere fact that this was going to be the "very first" saxophone quartet ever in this city to be formed, that sparked the paper's interest?

The next time the ensemble is mentioned in Victoria newspapers is almost 9 months later. A benefit concert was going to be held on December 26th at the then brand new Victoria Theatre, in support of a "breadwinner" who, while at work at the building, "broke his leg".

The event was also formally announced in the Victoria Colonist (25 November 1885):

Several (paid?) advertisements announce (amongst others) the upcoming first appearance of the "Saxaphone Quartette". Note the date change to the week before Christmas, December 16, 1885:

Reviews appeared in both of Victoria's newspapers:

Here is the Victoria Colonist concert review, December 17, 1885:

Victoria Times review, December 17, 1885:

[...] The Saxaphone Quartette by Messrs. Herbert Kent, A. Weiss, E. [Teall], and Prof. Pferdner received a merited enchore. [...] Another saxaphone quartette was given acceptably [...]

There is quite some information available about the performers. These were Emile Pferdner (well known vocal conductor), Herbert Kent (well known local singer and vocal conductor, also played flute in many of the earliest bands in Victoria), Mr. Teall (clarinet and saxophone player, in Victoria between 1885-87), and E. Weiss (no more details).

It's great to get so much detail about the event, although one is left with many questions too, especially:
- how did this group obtain these saxophones, and why?
- what saxophone quartet works were on the program?

Interestingly enough the two reviews were also the last thing we heard about this group. Did they have difficulty playing the (new?) instruments? Perhaps there wasn't the essential chemistry between the four players to make the ensemble "work"?

Who will know?

Understanding the Glazunov Saxophone Quartet

2010-05-09T16:26:00.001-07:00

It has taken me quite the time to grasp the essence of the Glazunov Saxophone Quartet, and although each time I get to work on it I feel I'm getting closer to it I also think there's more to be learned.

One of the main hurdles is the sheer length of the piece. For a string quartet a length of 20-30 minutes is perhaps a pretty average length, but for saxophone quartets (or any other small wind ensemble)- who are constantly challenged to synchronize their breathing with the phrasing of their musical lines - this becomes a serious matter of endurance. And the fact that Glazunov uses such a dense way of writing (much like he does in his string quartets) doesn't help much either.

But there are other "problems" too. A major one (although easy to fix) is the poor quality of the individual parts, and I therefore want to warn anyone who is planning to work on this quartet to do "first things first": make sure to add the many missing dynamics, articulations, accidentals etc. from the main score to the individual parts. This will clear up much confusion and speed up your rehearsals substantially.

There are several recordings that have really helped me understand this work better. Here are three that I can recommend:

- Habanera Quartet (France, 2004)
- Aurelia Quartet (Netherlands)
- Rascher Quartet (USA)

That's it for now, but there are likely more discoveries to be made as we get closer to our Vis-a-Vis June 5th performance at Uvic, Victoria.

Paying a visit to Robert Dale McIntosh

2010-05-08T23:01:00.001-07:00

While doing my research, one name kept showing up: Robert Dale McIntosh - it was time to pay him a visit. I called him up and made an appointment for last Friday afternoon.

After a warm welcome, introducing ourselves and giving him a broad idea about my topic, I started asking away a ton of questions.

A few things about our conversation stand out:
- what a rich history Victoria has, mostly because of the (well off) people that moved here, who had lots of leisure time to spend
- how important "names" (of people) are in doing this type of research
- the historical part of my research is going to be time consuming (I don't have a team of students helping me) so I better make sure other parts of my thesis are less time consuming (allocate resources efficiently)
- once one finds the "kernel" useful to my topic, then the work will flow forward by itself

The visit was close to an hour long, so a lot more was discussed. The next thing I will do, also a recommendation from Dale, is to visit the BC archives.

Monday will be my first chance to do that: I'm especially looking forward to the H. Kent fonds, perhaps the earliest saxophonist in town?

Tools of our Trade: my saxophone setup

2010-04-09T21:17:00.000-07:00

Some people can get extremely fascinated by the tools of our trade. I'm actually not one of those people (at least not to the extreme) and my set-up has changed only marginally.

Nevertheless, for those that want to know what instruments, mouthpieces and reeds I'm playing on, here is my set-up:

Soprano: Yanagisawa S992 - 00236xxx

Mouthpiece: Selmer C* and D (mostly D)

Reeds: Vandoren Classic 3 - 3½

Alto: Buffet Crampon Prestige - 33xxxE

Mouthpiece: Vandoren A28, Selmer C** and D (mostly Vandoren A28)

Reeds: Vandoren Classic 3

Tenor: Selmer Series 3 – N. 603xxx

Mouthpiece: Selmer D and Meyer 7 (Meyer for Jazz Band)

Reeds: Vandoren Classic 3½

Baritone: Selmer Series 2 – N. 545xxx

Mouthpiece: Vandoren B35 and Selmer C** and D (mostly Vandoren)

Reeds: Vandoren Classic 3 - 4

Please note:

Let's not forget what Paul Brodie had to say about the importance of having the right mouthpiece (85% of the sound) over having the right instrument, and invest in several extra mouthpieces to ensure you're working on the most efficient one.

Paul Brodie:

The mouthpiece is 85 percent of what one will get out of the instrument. If one uses a cheap mouthpiece on a good instrument, one will diminish the potential of the instrument to produce a good sound.Therefore, even if one has a good student instrument and puts on a professional mouthpiece such as a Selmer square-chamber mouthpiece, a Couf, or a Vandoren, one will improve greatly the potential of the instrument. (Classical Sax: David W. Roe, "Classical Sax Conversation with Paul Brodie", Music Educators Journal, Vol. 70, No.7. (Mar., 1984), pp. 41-43.)

Concert qualicum beach

2010-03-08T20:40:00.000-08:00

Pianist Julian Greenwood had great fun playing for the Qualicum Beach audience.

What was especially refreshing was their (audible) appreciationg for the contemporary works (especially Archer) on our program.

I'm looking forward to performing here again in the fall, this time with the Vis a Vis Saxophone Quartet.

Welcome to my Blog

2009-04-05T22:55:00.000-07:00

- Read the latest news here -

For my official site please visit: www.erikabbink.com

Over the years I've had several different versions of my site up. This time I thought it was time for including a blog. The convenience of blogging on Google's Blogger has pulled me over.

Enjoy!

How to receive my newsletters

2009-01-22T14:24:00.000-08:00

Let's stay in touch

Stay in touch by signing up for my email newsletter.
I don't sell any email addresses to third parties (I promise) and you can un-subscribe at any point, simply, by clicking the unsubscribe link in your email, or by unsubscribing on this page.
Expect a frequency of 4-6 newsletters per year to arrive in your email inbox, completely free!

Contact Me

2000-01-01T22:24:00.000-08:00

For information, bookings and lessons you can contact me here:

Erik Abbink
903 Collinson Street
Victoria, BC V8V 3B7
(250) 477.5413

Concerts in 2003

2000-01-01T21:32:00.000-08:00

The Old School House Arts Centre, Qualicum Beach B.C.
December 7, 2003, 2:30 pm
Works by Debussy, Schumann, Prokofiev, Gershwin, Vaughan Willams, Forsyth, and Adaskin
- Jacqueline Perriam, piano

Canada Music Week at the Victoria Conservatory of Music, Victoria B.C.
November 21, 2003, 7:30 pm
"Breaking Through" by Malcolm Forsyth
and "Invocation and Ceremony" by Gary Kulesha (solo saxophone)
- Jacqueline Perriam, piano

Sax-o-Fun! - Bayside Middle School, Brentwood B.C.
June 18, 2003, 9:00 am
Educational Concert
- Jacqueline Perriam, piano

All Saints Church by the Sea, Ganges, Salt Spring Island B.C.
March 5, 2003, noon
Works by Schumann, Schulhoff, Bernstein, Gershwin and Piazzolla
- Jacqueline Perriam, piano

Sax-o-Fun! - Mill Bay B.C.
February 26, 2003, 10:30 am
Educational Concert
- Jacqueline Perriam, piano

NASA Saxophone Festival, UBC School of Music, Vancouver B.C.
February 6-8, 2003
- Jacqueline Perriam, piano

Concerts in 2004

2000-01-01T21:31:00.000-08:00

Canada Music Week at the Victoria Conservatory of Music, Victoria B.C.
November 19, 2004, 7:00 pm
"Daydreams" by Murray Adaskin and "Critical Mass" by Wes Wraggett (soprano saxophone and tape, world premiere)
- Jacqueline Perriam, piano

All Saints Church by the Sea, Ganges, Salt Spring Island B.C.
September 1, 2004, noon
Works by Telemann, Prokofiev, Rachmaninov, Malcolm Forsyth, Vaughan Williams and Wiedoeft.
- Jacqueline Perriam, piano

CD Recording, Recital Hall of the University of Victoria, B.C.
June 21,22 and 23, 2004
- Jacqueline Perriam, piano

Rotary Club, Laurel Point Inn, Victoria B.C.
April 30, 2004, 8:30 pm
Works by Gershwin, Moussorgsky, Wiedoeft, and Hywel Davies
- Jacqueline Perriam, piano

Composers Concert, Victoria Conservatory of Music, Victoria B.C.
March 11, 2004, 7:30 pm
"Crackerjack" for baritone sax and piano, by Wes Shelley
- Jacqueline Perriam, piano

Sax-o-Fun! - Hampton Community School, Victoria B.C.
March 4, 2004, 9:00 am
Educational Concert
- Jacqueline Perriam, piano

Sax-o-Fun! - South Park Elementary School, Victoria B.C.
February 4, 2004, 9:15 am
Educational Concert
- Jacqueline Perriam, piano

Concerts in 2006

2000-01-01T21:30:00.000-08:00

UBC Symphonic Wind Band: Taiwan and Hong Kong
First Asian Tour UBC School of Music
Concerts throughout Taiwan and Hong Kong
December 26, 2005 - January 8, 2006

Chan Centre for the Performing Arts, Vancouver B.C.
January 21, 2006, 8:00 pm
U.B.C. Symphony Orchestra
European Legends: Hary Janos Suite, Zoltan Kodaly

Centenary Celebration Murray Adaskin, VCM Victoria B.C.
January 22, 2006, 2:30 pm
"Daydreams" by Murray Adaskin
Jacqueline Perriam, piano

Sanctuary Concerts Temple Shalom, Vancouver B.C.
January 26, 2006, 1:30 pm
Works by Telemann, Cesar Franck, Ryo Noda and Erwin Schulhoff
- Matthew Ma, piano

Palm Court Orchestra: Ain't Misbehavin'
With Karel Roessingh, piano
February 4, 2006, 8:00 pm Uvic Centre, Victoria B.C.
February 5, 2006, 2:30 pm Brentwood College, Mill Bay B.C.
February 12, 2006, 3:00 pm Charlie White Theatre, Sidney B.C.

UBC Symphonic Wind Ensemble
February 8, 2006, 7:30 pm Delta, Seaquam, Delta B.C.
February 9, 2006, 2:30 pm Douglas College, New Westminster B.C.

UVic - David Lam Auditorium
Vis-à-Vis! Saxophone Quartet
March 25, 2006, 3pm University of Victoria, B.C.
Works by Gibbons, Glazunov, Francaix e.o.

Qualicum Schoolhouse Concerts
Vis-à-Vis! Saxophone Quartet
March 26, 2006, 2:30 pm Qualicum Beach B.C.
Works by Gibbons, Glazunov, Francaix, Singelee e.o.

Saxophone Clinic
April 22, 2006, 9 am at Uvic, Victoria, B.C.
Clinic only.

UBC Symphonic Wind Ensemble
May 6, 2006, Whistler Band Festival, Whistler B.C.
2:30 pm and 4 pm, Baritone Saxophone Clinics at the Listel Hotel.
7 pm and 9 pm, Concert at the Whistler Conference Centre.
Works by Philip Spark, Scott McAllister, Godfrey Ridout e.o.

Brassfire - with Jens Lindemann, trumpet
May 15 - 18, 2006 Banff Workshop, Banff A.B.
Works TBA

Victoria Piano Summer School
July 7, 2006, Phillip T. Young Auditorium, UVic
2 pm, Murray Adaskin Tribute
Daydreams, by Murray Adaskin
- Frances Perriam, piano

2nd DMA Recital, UBC School of Music
December 3, 2006, 2pm in the Recital Hall
"Transcribed!"
Works by Cesar Franck, Arvo Part, Sofia Gubaidulina, Claude Vivier, Domenico Scarlatti and George Gershwin.
- Matthew Ma, piano
- Vis-à-Vis Saxophone Quartet

Concerts in 2007

2000-01-01T13:15:00.000-08:00

Saxophone Recital UVic, Victoria B.C.
February 17, 2007, 3pm
Vis-à-Vis Saxophone Quartet
"French Masterworks"
Quartets by Descenclos, Pierne, Schmitt and Vellones

Saxophone Conference, Regina S.K.
February 23, 2007, 8pm
Vis-à-Vis Saxophone Quartet
"French Masterworks"
Quartets by Descenclos, Pierne, Schmitt and Vellones

Sonic Boom New Music Festival, Vancouver B.C.
March 16, 2007, 7:30 pm
"Capricon" by Alfredo Santa Ana
- with Rachel Iwaasa, piano