THE ARTISTS
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Madeleine Owen is an able arranger and has a special interest in enlarging the ensemble repertoire for classical guitar. An award-winning teacher, she has taught a wide variety of musical subjects from guitar to pre-school music. She studied classical guitar performance at the Conservatoire de musique du Québec à Hull and the University of Ottawa. She has studied early music performance with well-known musicians such as Nigel North and Sylvain Bergeron. |
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Kevin has premiered more than a dozen new works for viola written at his invitation, some for viola alone, others calling for diverse partners such as organ, chamber choir, viola nonet, percussion and string orchestra. Recently he researched and performed a recital of first known works for viola and piano by Canadian composers. Kevin has written on aspects of Canada's musical life for the Encyclopedia of Music in Canada (second edition) and as an occasional contributor to the freelance musical press. He has recorded on baroque violin and modern viola. |
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In 1991, after having been solo-double bass with the Jeunes Virtuoses of Montreal and the New York Chamber Soloists, she won a position with the National Arts Centre Orchestra. Marjolaine was appointed Assistant Principal Bass with NACO in 1997. On the side, Ms Fournier likes to play other styles and musical instruments as a very bad amateur. She also enjoys fishing, running, the outdoors, reading, woodworking, video games, cooking (she finally learned how to make her own pie crust!) and is the French NAC Orchestra podcast host of the “BaladOCNA” series which you can find at www.nac-cna.ca/podcasts. Ms Fournier is coordinator of the NAC Orchestra Players Association popular Christmas event “Fanfare”. She is also a board member of the Amethyst Women's Addiction Centre in Ottawa. Marjolaine is a very proud recipient of the National Arts Centre’s “Good Ambassador Award”. |
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Initially trained in piano, conducting, and modern harp, Sara pursued further studies in music history and historical performance practice at Carleton and McGill Universities; she has participated in the Amherst Early Music Festival, the Seattle Academy of Baroque Opera, the Corso Internazionale di Musica Antica (Urbino, Italy), and the International Baroque Institute at Longy. Sara gratefully acknowledges the inspirational guidance and support of her principal teacher, renowned harpist Maxine Eilander. |