The Four Seasons Recomposed

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Composer Max Richter is now part of Deutsche Grammophon’s acclaimed Recomposed series, in which contemporary artists are invited to re-work a traditional piece of music.

The idea of recomposing and re-processing musical works was common practice in Vivaldi’s time and the project presents an exciting opportunity to make favourite classics relevant to a wider audience. However, Richter’s approach differs fundamentally from the preceding releases: in contrast to previous participants, such as Matthew Herbert or Moritz von Oswald & Carl Craig, who reworked recordings from the extensive Deutsche Grammophon catalogue, Richter actually ‘recomposed’ Antonio Vivaldi’s The Four Seasons. He is the first in the series to employ an existing score, ‘inscribe’ his new composition into Vivaldi’s and record a ‘new’ version of a familiar work, thus creating a new hybrid work.

Like many composers Richter was always fascinated by Vivaldi’s 1725 composition because “The Four Seasons is an omnipresent piece of music and like no other part of our musical landscape’ But he was also aware of that for many, including himself, it had long ago ceased to be something of beauty and had instead become an ever-present piece of muzak “You hear it in the supermarket regularly, you’re confronted with it in adverts or hear it as muzak when on hold. Slowly you begin to blank it out” Richter yearned to reconnect with the piece and to re-start the conversation on Vivaldi’s work, and he sought to do so in an accessible style that mirrored Vivaldi’s intentions with the piece, rather than to place a twentieth century Modernist imprint on it. “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.” In order to do this Richter wrote an entirely new score and recorded it with Daniel Hope and The Konzerthaus Kammerorchester in Berlin.

Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do with the bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.”

Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point, I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.” Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”

Adapted from the booklet text for the Recomposed release, written by Nick Kimberley.


Museum of the Moon FAQs

Museum of the Moon

Museum of the Moon is a touring artwork by UK artist Luke Jerram.

Measuring seven metres in diameter, the moon features 120dpi detailed NASA imagery of the lunar surface. At an approximate scale of 1:500,000, each centimetre of the internally lit spherical sculpture represents 5km of the moon’s surface.

Over its lifetime, the Museum of the Moon will be presented in a number of different ways both indoors and outdoors, so altering the experience and interpretation of the artwork. As it travels from place to place, it will gather new musical compositions and an ongoing collection of personal responses, stories and mythologies, as well as highlighting the latest moon science.

The installation is a fusion of lunar imagery, moonlight and surround sound composition created by BAFTA and Ivor Novello award-winning composer Dan Jones. Each venue also programmes their own series lunar-inspired events beneath the moon.

Luke Jerram’s multidisciplinary practice involves the creation of sculptures, installations and live arts projects. Living in the UK but working internationally for 19 years, Jerram has created a number of extraordinary art projects which have excited and inspired people around the globe. Jerram has a set of different narratives that make up his practice which are developing in parallel with one another. He is known worldwide for his large scale public artworks.

FAQ – Frequency Asked Questions

1. Where did you get the idea to make an artwork such as Museum of the Moon?

Bristol has the highest tidal range in Europe. There’s a 13m gap between high tide and low tide. Cycling to work each day over the river to work, reminded me that it’s the gravitational pull of the Moon that’s making this happen. I had the idea to create the Museum of the Moon some 15 years ago, but it was only until very recently that the data for creating the Moon imagery was made available by NASA.

As a child I always wanted a telescope so I could study the Moon and the night’s sky. Now with my own Moon, I can fly there, study every detail and share this experience with the public. We can explore the far side of the Moon which is never visible from Earth.

2. The moon has always been an inspiration for artists. What was so inspiring for you about the moon?

From the beginning of human history, the moon has acted as a ‘cultural mirror’ to our beliefs, understanding and ways of seeing. Over the centuries, the moon has been interpreted as a god and as a planet. It has been used as a timekeeper, calendar and to aid night time navigation. Throughout history the moon has inspired artists, poets, scientists, writers and musicians the world over. The ethereal blue light cast by a full moon, the delicate crescent following the setting sun, or the mysterious dark side of the moon has evoked passion and exploration. Different cultures around the world have their own historical, cultural, scientific and religious relationships to the moon.
Museum of the Moon allows us to observe and contemplate cultural similarities and differences around the world, and consider the latest moon science. Depending on where the artwork is presented, its meaning and interpretation will shift. Through local research at each location of the artwork, new stories and meanings will be collected and compared from one presentation to the next.

3. During its tour, the Moon has always be shown in public spaces. Why is it important to you to show your artworks in public spaces?

Depending on where the artwork is presented, the meaning and interpretation of the Museum of the Moon, will shift. The interpretation of the Moon will be completely different if it is presented in a cathedral, warehouse, science museum or arts centre.

Whether the artwork is exhibited in China, USA, India or Europe the cultural context and audience, also effects the public’s interpretation. Every culture has its own relationship to the Moon which varies from one country to another.

4. Museum of the Moon is made of really precise lunar imagery from NASA. Can you explain this choice?

I wanted to make the artwork seem as authentic and realistic as possible. For most people, this will be their most intimate, personal and closest encounter they will ever have with the Moon.

5. What’s been the public’s response?

It’s been wonderful to witness the publics’ response to the artwork. Many people spend hours with the Moon exploring its every detail. Some visitors lie down and moon-bathe.

At our exhibition Natural History Museum a man in a suit came up to me in tears. He explained how he was a space scientist from the European Space Agency and had spent his career studying the surface of the moon. I gave him a hug and he left the exhibition, a very happy man!

In Leicester one young girl asked “will you put the moon back afterwards?” She thought I’d stolen the real moon! I reassured the young girl that I would definitely return the moon after the exhibition.

In Bristol, we had an unexpected group of visitors who arrived in slow motion to the exhibition, dressed as spacemen!

In Marseille I arranged an arc of deckchair beneath the Moon. Within minutes, many of the chairs had been groups into pairs and were occupied by couples holding hands!

6. Why has the artwork been so well received?

I think one of the reasons the artwork has been well received so far, is that it leaves space for the public to interact with one another and participate in a communal shared experience. The artwork can be accessed an enjoyed by different people at different levels. It can be enjoyed as much by a 4 year old child as much as a professional astronomer.

To date over 3million people have visited the artwork. We often draw massive crowds many of which will have never have visited the museum or gallery before.

The Museum of the Moon is both an installation artwork, as well as a venue for other people to be creative. Hosts programme their own lunar inspired events to take place beneath the Moon. This way the artwork can reflect the culture and community of a venue.

7. Each venue that hosted the Moon had its own architectural specificities. It also offered different performances beneath the Moon. Therefore it is always a new story. Why is it important to you to have several performances going on beneath your Moon?

Like many of my artworks like Play Me, I’m Yours and Withdrawn, this work provides opportunities for collaboration and the creative input of others.

The Museum of the Moon is an installation artwork that combines the architecture of the space, the sculpture of the Moon and a surround sound composition. Each venue and host, has the opportunity to curate their own moon-inspired events which reflect their local culture and creativity.

8. Music is also very important for your artwork. How relevant and important is Dan Jones’ composition to your work?

The Museum of the Moon installation is a fusion of lunar imagery, moonlight and surround sound composition. I’ve worked with Dan over 15 years, commissioning him to create music for a number of my art installations. We both understand the power that music has to paint imagery in our imaginations.

For the Museum of the Moon, the surround sound composition helps connect the sculpture of the moon with the surrounding architecture. For me, the music in the spacel shapes the atmosphere of the experience guides the interpretation of the artwork.

9. How long did the artwork take to make?
The artwork took 6 months to make. There was a lot of prototyping, planning and fundraising. The artwork was commissioned by many partners coming together to support the initial creation.

I originally had the idea to make this accurate facsimile of the moon 15 years ago. But back then neither the data nor the printing technology were available.

More information about the artwork can be found at:



Monique Martin and Alexandra Hedberg

120sq metres of silkscreened canvas
Created in Gothenburg, Sweden 2022

Change occurs through deep time when life hangs like a question mark, fragile and always changing.
A moment in time can impact this planet, but it can also take years and decades to notice the change.
Transformation is a process within human existence and within the ecosystems on the earth that allows
us to live in the continuous present as we know we will not be the same person or planet tomorrow
that we were today. The arithmetic of life can be looked at as continuous subtraction or as continuous
transformation. When parts of our life and the earth run thin like the transparent chrysalis
of a butterfly there is room for transformation, change, growth and movement.

We thought the environment was frozen in time. It is now a slow emergency. Nature measures
time in epochs, eras, eons; it is not based on a human construct of days or years. Humans
trespass without notice on nature’s time scale but have altered deep time. Our trespassing
renders a lasting impact, stripping mother earth, leaving her vulnerable and weak. We
were complacent thinking we had the answers and believing that tomorrow is always promised.
Did we even really try? The eternal seconds of our nascent attempts to address climate
change may be too late. The regrets will be carried by the future generations
comparing what we could have done with what actually occurred.

Time is eternal and everything is gradually covered by the earth.

See how it was made on Monique Martin’s website

Max Richter, composer

Max Richter stands as one of the most prodigious figures on the contemporary music scene, with ground-breaking work as a composer, pianist, producer, and collaborator. From synthesizers and computers to a full symphony orchestra, Richter’s innovative work encompasses solo albums, ballets, concert hall performances, film and television series, video art installations and theatre works.  He is Classically trained, studying at Edinburgh University, the Royal Academy of Music, London, and completing his studies with composer Luciano Berio in Florence,

Memoryhouse”, Richter’s 2002 debut, has been described by The Independent, and Pitchfork Magazine as a “landmark”, while his 2004 album “The Blue Notebooks” was chosen by The Guardian as one of the best Classical works of the century. “SLEEP”, his eight-and-a-half-hour concert work, has been broadcast and performed worldwide, including at the Sydney Opera House, Berlin’s Kraftwerk, Amsterdam’s Concertgebouw, the Philharmonie de Paris, and at the Barbican, London. In 2012 Richter “Recomposed” the infamous Vivaldi’s Four Seasons, winning him the prestigious ECHO Classic Award, and an established place in the classical charts.

In recent years Richter’s music has become a mainstay for many of the world’s leading ballet companies, including The Mariinski Ballet, La Scala Milan, The Joffrey Ballet, New York City Ballet, The Paris Opera Ballet, American Ballet Theatre, Semper Oper, and NDT, while his collaborations with Wayne McGregor for The Royal Ballet have been widely acclaimed.

Richter has written prolifically for film and television, with recent projects including HostilesBlack MirrorTaboo – which gained him an Emmy nomination, HBO series The Leftovers and My Brilliant Friend and most recently White Boy RickMary Queen of Scots and the sci-fi drama Ad Astra starring Brad Pitt. His music is also featured in Martin Scorsese’s Shutter Island, Ari Folman’s Waltz With Bashir and in the Oscar-winning Arrival by Denis Villeneuve.

Richter’s most recent commissions are from the city of Bonn to mark the Beethoven 250th year anniversary, and a further collaboration between Richter, Margaret Attwood and Wayne McGregor, based on Atwood’s Maddaddam trilogy of novels, premiering in Toronto in September 2022.

His latest recorded project, The New Four Seasons, was released in 2022 marking ten years of his Vivaldi Recomposed project, re-recording the piece with period instruments.

Kenneth Fuchs, composer

Kenneth Fuchs is the first living American composer recorded by the virtuoso Sinfonia of London and its brilliant conductor, John Wilson. In July 2023, Chandos Records released Cloud Slant, Orchestral Works, Volume 1, which includes two works for full orchestra, an exuberant composition for strings, and a concerto for C and alto flute, performed by the extraordinary Adam Walker.

Fuchs recorded for Naxos five albums with the London Symphony Orchestra conducted by JoAnn Falletta, the last of which won the 2018 GRAMMY® Award for “Best Classical Compendium.” In August 2020, Naxos released Point of Tranquility (Seven Works for Symphonic Winds), recorded by the United States Coast Guard Band. Naxos also published an album of chamber music including Falling Canons, Falling Trio and String Quartet No. 5 “American.” Albany Records published String Quartets 2, 3, 4 in definitive performances by the American String Quartet.

Fuchs has composed music for orchestra, band, voice, chorus, soloists, and various chamber ensembles. With Pulitzer Prize-winning playwright Lanford Wilson, Fuchs created three chamber musicals. The National September 11 Memorial & Museum presented Fuchs’s operatic monodrama Falling Man (text by Don DeLillo, adapted by J. D. McClatchy) in commemoration of the 15th anniversary of 9/11. His music has achieved significant global recognition through performances, media exposure, and digital streaming and downloading.

Fuchs serves as Professor of Music Composition at the University of Connecticut. He is a graduate of the University of Miami and received master of music and doctor of musical arts degrees from The Juilliard School. His composition teachers include Milton Babbitt, David Diamond, and Vincent Persichetti. His music is published by Bill Holab Music, Hal Leonard LLC, Edward B. Marks Music Company, and Theodore Presser Company, and it has been recorded by Albany, Chandos, and Naxos.


Kenneth Fuchs’ Eventide is a one-movement concerto that highlights the exquisite lyricism of the English horn. 

Composed especially for Thomas Stacy, solo English hornist in the New York Philharmonic, Fusch created a work with a highly unique character. A technically challenging piece, Eventide includes the use of multiphonic chords.

A multiphonic is an extended technique on a monophonic musical instrument (one that generally produces only one note at a time) in which several notes are produced at once. This includes wind, reed, and brass instruments, as well as the human voice. Multiphonic-like sounds on string instruments, both bowed and hammered, have also been called multiphonics, for lack of better terminology and scarcity of research. – Wikipedia

The piece is inspired by spiritual songs such as Mary Had a Baby and Swing Low, Sweet Chariot. According to Fuchs, “Eventide is inspired by the mysterious quality of sunset glowing through stained-glass windows.” 

The piece begins with mellow and delicate passages that create a sense of calm and anticipation, inviting listeners to embrace the tranquillity. Throughout the work, the soloist plays haunting multiphonic chords depicting the strange activity of the creeping darkness.

In the final moments of Eventide, Fuchs produces a declining motion that depicts the sun’s last rays giving way to the enveloping darkness of night. The music achieves a tremendous sense of completion, as though the natural world has reached a peaceful balance.


SSO’s Live Streaming for 2023-2024

Welcome to our biggest year yet! From the 300th anniversary of Bach’s St John Passion to world premieres and Grammy winners – this season has it all. And you can enjoy it from the comfort of the best seat in the house…yours!

Streaming has changed the SSO forever. It’s a great joy to be able to share our performances with viewers around the world, and bring our music making in the hearts and homes of our patrons. Whether you’re live streaming the performance, or watching it a second time on demand, we’ve curated an online season that highlights the best we have to offer this season.


September 16th – Four Seasons of the Moon

Sit back and gaze up at the moon! A concert performed directly under Luke Jerram’s Museum of the Moon, this is a one of a kind event. The performance features your SSO led by Maestra Judith Yan and performing Kenneth Fuchs’ Eventide with the SSO’s Erin Brophey and Max Richter’s enigmatic Recomposed Four Seasons with violinist Veronique Mathieu. A one-of-a-kind musical adventure to the moon!


October 21st – Rachmaninoff Romance

2023 marks the 150th birthday of the great pianist and composer Sergei Rachmaninoff – so we’re celebrating with a pair of concerts to bring the house down! Pianist Lucille Chung makes her SSO debut with the virtuosic powerhouse of Rachmaninoff’s Rhapsody on a Theme by Paganini. Maestra Yue Bao leads your SSO through Coleridge Taylor Perkinson’s Worship and Dvorak’s romantic 8th Symphony.


October 28th – A Case of You

Only available to SSO Streaming Subscribers

The SSO celebrates the 80th birthday of Saskatoon’s greatest musician, Joni Mitchell. Vocalist Sarah Slean returns to perform the music from Mitchell’s albums Both Sides Now and Travelogue. The concert features hits like Both Sides Now, Circle Game, Blue, River, and so much more!


November 25th – Rachmaninoff Dances

A landmark night featuring Grammy winner saxophonist Timothy McAllister in a world premiere of Vincent Ho’s brand new Fanciful Bird Concerto. A commission of the SSO years in the making, the concerto tells an incredible story with a local twist. Maestro Robert Franz leads the SSO in the sensational Symphonic Dances of Rachmaninoff and opens with Kalamalka (Lake of Many Colours) by Jean Coulthard.


December 9th – Holiday Pops!

It’s the most wonderful time of the year and we’re here to bring you some holiday cheer. Maestra Rosemary Thompson is joined by long-time SSO collaborator Garry Gable to tell some classic holiday stories with special guests the University Chorus. Haul out the holly, its time to get festive!

December release – Handel’s Messiah

Maestra Cosette Justo Valdes wowed our audience last year with Handel’s Messiah – the soloists, the orchestra, and the chorus were breathtaking. Rejoice over the holiday season with this timeless classic celebrating its 110th anniversary in Saskatoon!

February 10th – The Roaring Twenties

The 20s were full of great music and celebrations, and this concert celebrates the 100th anniversary of Gershwin’s Rhapsody in Blue with pianist Daniel Clarke Bouchard. Maestra Melanie Leonard has created a program to celebrate the hustle and bustle of the 1920s with Gerswhin’s American in Paris and William Grant Still’s Symphony No 1.

March 2nd  – SSO with Kinan Azmeh

Grammy winner Kinan Azmeh has been hailed as one of the greatest most versitile artists on stage today. His performances are spellbinding. He joins the SSO to perform his own work Suite for Improvisor and Orchestra. Maestra Cosette Justo Valdes takes the SSO on a journey of sound with Faure’s Pelleas et Melisande, Dohnanyi’s Symphonic Minutes, and Kelly Marie Murphy’s Curiousity, Genius, and the Search for Petula Clark.

March 23rd – Sask Celebration

Maestro William Rowson returns home to lead his hometown orchestra in a celebration of all things Saskatchewan. The world premiere of Saskatoonian Andrew Kesler‘s Suite for the Prairies with the Saskatoon Youth Orchestra opens this celebration. Then we showcase the orchestra and Sask soloists Veronique Mathieu in Sibelius’ Violin Concerto and Godwin Friesen in Prokofiev’s virtuosic 3rd Piano Concerto.


April 7th – St John’s Passion

Maestro Leslie Dala returns to the SSO podium to lead your orchestra and SSO Chorus in a performance of Bach’s St John’s Passion – 300 years to the day it premiered. Marking its first full performance in Saskatoon’s history, this musical event is a landmark project for the SSO and our chorus.


April 20th – YXE Divas

It’s a party celebrating the best female voices Saskatoon has to offer – a night where rock and roll meets blues and rap and even opera…this is going to be a fun night of making music with great friends! Maestra Janna Sailor takes to the podium alongside the best YXE has to offer.


May 4th – Beethoven 9 at 200

We’re thrilled to be celebrating the 200th anniversary of the premiere of Beethoven’s epic Symphony No 9. Maestra Judith Yan leads the SSO with an all star soloist line up, including Julie Nesrallah, and a mass choir gathering together voices from across the province. It’s going to be truly an Ode to Joy!


*Most of these concerts will be available to view in a live stream with a streaming ticket. All of the SSO’s streamed season and back catalogue is available with SSO Streaming Subscriptions. 

SSO Streaming Subscriptions are available for $99.99 for 12 months.

Streaming Tickets and SSO Streaming Subscriptions are available for purchase at

What’s happening at the Bassment

The Bassment is one of Canada’s premier jazz clubs and provides musicians of all skill levels a venue to showcase their talents in front of a live audience while accessing a variety of professional, concert-grade instruments. The club offers an intimate, personal concert space with a world-class stage for local, national, and international artists.

Here’s a sample of what’s happening next at The Bassment

Marianne Trudel & John Hollenbeck: Dédé Java Espiritu
Thursday, April 11


A piano, a drum set, and a thousand ideas. This is the happy and highly creative encounter ofpianist and composer Marianne Trudel with world-renowned drummer and composer John Hollenbeck. An electrifying, fascinating, enveloping duo, Dédé Java Espiritu plunges the listener into an infinite panorama of colours and grooves inspired by nature. Filled with catchy grooves, enchanting melodies, surprising sonorities, and joyous spontaneity, these compositions are rhythmically and melodically arranged to perfection.

Marianne Trudel is a veritable powerhouse in Canada’s jazz scene. She has produced and multiple artistic projects that showcase her considerable skills as well as her keen sense of creativity. Both energetic and passionate, her music covers a wide array of musical interests. Marianne has performed across North America, Europe, and China and has released 10 critically acclaimed recordings as a leader.

John Hollenbeck possesses a playful versatility and a virtuosic wit. Whether putting pen to paper or conjuring spontaneous sound allergic to repetition, he is essentially a musical thinker and is forever seeking to surprise himself and his audiences. John has received five GRAMMY nominations, a 2007 Guggenheim Fellowship, and is currently a member of the faculty at McGill University’s Schulich School of Music.

Sponsored by David’s Distinctive Men’s Apparel

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Dallas Alexander
Thursday, April 18


Hailing from a rough-and-tumble backwoods upbringing in Fishing Lake Métis Settlement in Northern Alberta, Dallas Alexander weaves his Métis roots with stories amassed over a decade-plus career serving in a tier-one special operations unit in the Canadian military. Dallas serves up a unique sound and country music lovers are in for a gritty-outlaw vibe inspired by music legends Waylon Jennings and Johnny Cash.

Sponsored by Black Fox Farm & Distillery

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Abigail Lapell
Friday, April 19

SONGWRITER SERIES • DOORS @ 7:30pm • SHOW @ 8:30pm

Toronto songwriter and multi-instrumentalist Abigail Lapell returns with Anniversary, an evocative collection of original love songs produced by Great Lake Swimmers’ Tony Dekker. Lapell’s deft lyrics jostle with love song tropes, grappling with love’s finitude and the irony of how codependency and longing are revered in popular music. Balancing upbeat earworms with elegiac ballads, Anniversary ultimately emerges as an earnest celebration of commitment. A stellar cast of musicians rounds out Lapell’s powerhouse vocals, piano, harmonica and fingerstyle guitar. Anniversary is out May 10, 2024 on Outside Music.

Sponsored by Backyard Living Center

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Claude Bourbon
Tuesday, April 23


Guitarist Claude Bourbon is known for his amazing performances that are a breathtaking acoustic fusion of blues, jazz, classical, and Spanish guitar. His inimitable style takes the acoustic guitar into uncharted territories, with all five digits on each hand dancing independently but in unison, plucking, picking, and strumming with such speed and precision that his fingers often merge into a blur. Having built up a following of loyal fans all over the United Kingdom, Europe, and North America, Claude returns for his fifth visit to the Bassment.

Sponsored by CFCR

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Daniel Champagne
Wednesday, April 24


Daniel Champagne lives and breathes live music. Described as “a leading light in acoustic music”, Daniel picked up the guitar as a five-year-old following in the footsteps of his musical father. He began writing songs at 12, training classically throughout his teens and performing wherever he could. At 18 he finished school, turned professional, and hit the road. Since then Daniel has released seven studio albums, toured relentlessly around the globe playing some of the biggest festivals under the sun, and shared stages with the likes of Tommy Emmanuel, INXS, Lucinda Williams, and Judy Collins. His latest Canadian tour will include 56 shows from Vancouver Island to Newfoundland!

Sponsored by David’s Distinctive Men’s Apparel

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The Mary Ancheta Quartet
Friday, April 26


Keyboardist Mary Ancheta is a Canadian Filipina artist who steps into the spotlight with her genre-bending organic, modern take on jazz and electro-funk. Inspired by the likes of Squarepusher, The Meters, John Scofield, and Prince, Ancheta knows what’s up when it comes to arresting melodies and irresistible grooves. Her quartet includes Trent Otter (drums), Dominic Conway (sax), and Matt Reid (bass). Encompassing her experience in film scoring Ancheta seeks to tap into raw fuelled moments favouring grittiness over perfection.

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