Aisslinn Nosky: “Toronto’s Eric Clapton of the violin” (Toronto Star)
Please note there are no door sales for the immediate future — all tickets must be purchased online or over the phone (204-783-7377).
When the MCO chooses a Guest Artist-in-Residence, it’s not only because a soloist has shown rare distinction with their chosen instrument. As with Leonard Bernstein or Glenn Gould, the musician’s talents must be multi-faceted, reflecting a deep understanding of music and a charismatic ability to communicate that understanding. In short, they must be an ambassador as well as a virtuoso.
Violinist Aisslinn Nosky is such an ambassador and in her time as our Guest Artist-in-Residence has connected effortlessly with Winnipeggers. A former member of Tafelmusik, Canada’s premier period orchestra, Aisslinn speaks eloquently on the history of Baroque in the many interviews and pre-concert talks she’s done here. But even her performances feel illuminating, like a revelation. Aisslinn tends to play-conduct, meaning she’s juggling both soloing and conducting. The task, demanding she lead the piece both from inside and outside the orchestra, could only be handled by someone who also knows the piece inside out. It’s an exercise of supreme control, but one she performs so expressively we feel we are seeing the music, in all its rich polyphony, as she does. Her performances are like masterclasses for the baroque lover no matter their level of music education.
Speaking of baroque lovers, it’s unlikely they, or we, will tire anytime soon of debating the greatest of the Bach Boys, after papa Johann Sebastian. In terms of sheer influence, J.S.’s son Carl Philipp Emanuel no doubt comes out on top, with Mozart once writing that “[C.P.E.] Bach is the father, and we are the children.” But this is no reason to underestimate the genius of the other Bach Boys, who wrote reams of exquisite music, much of it very different than C.P.E. but nearly as influential. (Bach’s daughters were also gifted musically, but social norms then would have prevented their becoming professional composers.) The galante-inspired Johann Christian Bach, for instance, was also an important guide for early W.A. Mozart, having taken the young genius as a student after Mozart withstood a barrage of J.C.’s gruelling musical tests. Our late May concerts give us a sense of this complicated lineage with works by J.C., J.S., and W.A.
BUY CASUAL TICKETS HERE!
There are no door sales for the immediate future; all tickets must be purchased online or over the phone (204.783.7377). We ask that you take a look at our ticket and social gathering policies, by clicking here, before purchasing tickets to or attending our concerts. Click links below to add ticket to cart, adjust quantity in cart. In-person tickets entitle you to a seat at our Westminster concert as well as access to our online presentation of the same concert roughly a week later. Online-only tickets give you access to the online presentation only, which will be viewable for two weeks after the online concert’s premiere. Buyers of in-person tickets will not receive a physical ticket. Once you arrive at our concert, please check in with our Box Office, as they will have an audience list. We will email all ticket-holders (online-only and in-person) a link for accessing the online concert a week or so before its premiere.
• Buy May 25th in-person ticket (incl. online) | $36 Adult | $34 Senior | $15 Under-30
• Buy May 26th in-person ticket (incl. online) | $36 Adult | $34 Senior | $15 Under-30
• Buy June 10th online-only ticket | $20 Household ticket
Manitoba Chamber Orchestra
Anne Manson, Music Director
Karl Stobbe, Concertmaster
Westminster Church in Wolseley
Wednesday & Thursday, 25 & 26 May 2022
Online presentation 10 June 2022
Johann Sebastian Bach
Violin Concerto No. 1 in A Minor, BWV 1041
Johann Christian Bach
Symphony No. 8 in G Minor, Op. 6
Georg Frideric Handel
Concerto grosso, Op. 6, No. 4 in A Minor, HWV 322
Wolfgang Amadeus Mozart
Violin Concerto No. 4 in D Major, K. 218