Tafelmusik, Canada’s premier Baroque orchestra, has a long touring history to destinations as far-flung as Athens, Germany, Japan, Australia—and even under the shadow of Vesuvius in Rieti, Italy. Continuing this tradition, the Toronto-based ensemble toured to South Korea in late October and early November, presenting a version of the Brilliant Baroque program they will play in Toronto in January and February at Jeanne Lamon Hall. The program includes Baroque favourites like Handel’s Concerto grosso in G Major, Purcell’s Suite from The Fairy Queen and Bach’s Violin Concerto in A minor as well as rarities like Avison’s Concerto No. 6 in D major, after Scarlatti and Reichenauer’s Suite in B-flat major.
Even though Tafelmusik has toured extensively, their concerts in South Korea were unique. The Eagon Music Festival, established in 1990, has a mandate to make live music as accessible as possible. Their free concerts have become so popular that interested attendees have to submit an application for tickets outlining why they want to attend, with whom, as well as their expectations for the performance.
Tafelmusik in Incheon, South Korea. Photo: Kakao Talk
Cristina Zacharias, one of Tafelmusik’s three Artistic Co-Directors, says the festival’s aim is to reach a wider audience that goes beyond the privileged demographic who usually attend. The Canadian violinist cites another touring benefit: connecting with young musicians who experience Tafelmusik on the road and who come to Toronto to learn from the ensemble. “We will have students from all over the world with stories like, ‘When I was 15, I came to your concert. Now I am here in Canada studying violin with you’,” says Zacharias.
Along with her fellow artistic co-directors—violist Brandon Chui and bassoonist Dominic Teresi—Zacharias is part of a flexible artistic team that is constantly in healthy creative flux. Zacharias says, “We each are expected to play many different roles in the ensemble. All of the sections of the orchestra share leadership responsibilities. For example, we do not have a fixed principal second violin. That is a responsibility that is shared over the course of a year.”
Like many Tafelmusik musicians who have long-term relationships with Tafelmusik, Zacharias has been with the orchestra for more than two decades. She remarks that “people do not tend to come and go, but come and stay.” This allows them to indulge in the rare experience of collaborating with other musicians over the course of several decades. “It’s one thing to collaborate with a person for five weeks, and quite another for a person to collaborate with someone for five decades.”
Whether touching audiences on the other side of the world, or forging long-term connections with fellow musicians at home, as Zacharias says, “It’s about connection.”
For more about Tafelmusik’s Asian tour and their upcoming Brilliant Baroque program visit www.tafelmusik.org
