With Glowing Hearts TSO Concert October 2017

With Glowing Hearts TSO concert


This all-Canadian program—curated by renowned conductor and Canadian music champion Victor Feldbrill—explores Canada’s rich history of classical composers. Notable Canadian pianist Christina Petrowska Quilico is the featured soloist in the Romantic-style Piano Concerto by Québec composer Claude Champagne. (Pictured: Christina Petrowska Quilico, piano)

Order tickets today when you include this performance in a three-show package, from only $79! Single tickets go on sale July 2017.

Logo of Canada 150

This project is funded in part by the Government of Canada. Ce projet est financé en partie par le gouvernement du Canada.

Concert Dates

Saturday, October 21, 2017 – 7:30pm

Sunday, October 22, 2017 – 3:00pm


Somers: Passacaglia and Fugue [11′]
Freeman: Tableau [9′]
John Beckwith: Flower variations and wheels [12′]
Champagne: Piano Concerto [15′]
Archer: Poem for Orchestra [11′]
Weinzweig: Symphonic ode [9′]


Victor Feldbrill
conductor & host
Earl Lee
RBC Resident Conductor
Christina Petrowska Quilico

Phil’s Review of Mozart: Sonatas and Variations for Piano and Violin

TOP_quilicoMozart: Sonatas and Variations for Piano and Violin Jacques Israelievitch, violin; Christina Petrowska Quilico, piano (Fleur de Son) http://www.a-vcoa.org/content.aspx?page_id=22&club_id=290418&module_id=131981&sl=561443509

This is Volume 1 in a series of Mozart works for piano and violin. Sadly, it must also be a memorial to the late violinist Jacques Israelievitch, who died of lung cancer last September 5th, less than two months after he and pianist Christina Petrowska Quilico completed the ambitious recording project. That the French-born Canadian violinist persisted in this endeavor in his final illness would be remarkable enough; what is amazing is that there is absolutely no evidence of infirmity in his performances, so full of the rhythms and colors of life, taut and firm, and always endowed with the warmth that Mozart requires. Petrowska Quilico proves the ideal partner for him, in recordings made in the Tribute Communities Recital Hall at York University in Toronto.

In this first volume in the series, we have a selection of Mozart‟s richest and most persuasive sonatas: K.380 in E-flat major, K.454 in B-flat major, and K.526 in A major. Chronologically, they are a study in the development of the genre, from what is basically a piano sonata with violin accompaniment to one in which the violin has clearly achieved an equal partnership. The slow movements, in particular, contain some of Mozart‟s most beautiful melodies. They are also different kinds of melodies. The Andante of K.380 has a haunting quality that is enhanced by chromatic inflections. The slow movement of K.454 is another Andante, but with more of the feeling of an Adagio, the violin now is entrusted with the prominent melody. Bold chromatic moduations add to its intriguing beauty. In K.526, the most mature sonata Mozart ever wrote, the slow movement, likewise an Andante, has an extended development, which was rare for the period. It even modulates for a while into A minor with no apparent hurry to end on the major key, traditionally the signal for the finale to begin. Mozart was evidently taken with the beguiling melody and in no haste to return to the main event. Israelievitch and Petrowska Quilico obviously enjoy the wealth of melody and the increasingly rich chromatic harmonies in these three works, so reminiscent in many ways of his writing in the operas with which they were contemporary, from Abduction from the Seraglio to The Marriage of Figaro. The joy of music making is evident in every single measure. Highly recommended. (If this CD doesn‟t win one of Canada‟s Juno Awards next April, there‟s no justice.) Phil’s review.

Pianist Christina Petrowska Quilico hosts This Is My Music


Mozart: Sonatas & Variations for Piano & Violin, Vol. 1 / Israelievitch, Quilico

Review Vancouver

Release Date: 06/10/2016
Label:  Fleur De Son   Catalog #: 58034   Spars Code: DDD
Composer:  Wolfgang Amadeus Mozart
Performers:  Jacques Israelievitch,  Christina Petrowska Quilico
Number of Discs: 1  

Reviewer Ed Farolan

This is the last joint collaboration by the duo of pianist Christina Petrowska Quilico and the late violinist Jacques Israelievitch, the recording of Mozart’s complete catalogue of violin and piano sonatas. The first of six CDs was released June 10 on the American label Fleur de Son (FDS 58034) and distributed by Naxos.  Copies are available on iTunes (electronic) and Amazon.com (physical and digital), and through numerous other digital service providers and retailers..

Volume 1 comprises 71 minutes of late sonatas along with a set of variations. It features the sonatas in E flat, K. 380; B flat, K.454; and A, KV 526; and Six Variations on a French Song (“Hélas, j’ai perdu mon amant”), K. 360. The music from these artists was beautiful and virtuosic, dynamic on the part of Quilico and finesse from the violin sounds of Israelievitch.

Jacques Israelievitch who passed away last year of lung cancer graduated from the Paris Conservatory at 16, and was a winner at the International Paganini Competition.  He was the concertmaster for 20 years with the Toronto Symphony Orchestra and was an officer of France’s Order of Arts and Letters and a member of the Order of Canada.

Professor Quilico teaches Music at York University in Toronto. She has performed with the Toronto Symphony, TaiPei Symphony Orchestra, Winnipeg Symphony, the National Arts Orchestra, etc. Her 40 CDs include solo, chamber and orchestral works. Four of her CDs have been nominated for Junos in the Best Classical Composition Category. Her CDs include 8 Canadian piano concerti with the Toronto Symphony, Jukka Pekka Saraste, conductor, Vancouver CBC Symphony, Sir John Eliot Gardiner to name a few.

© 2016 Ed Farolan

Christina Petrowska Quilico on recording with late TSO Concertmaster Jacques Israelievitch

Christina Petrowska Quilico on recording with late TSO Concertmaster Jacques Israelievitch


TSO President & CEO Jeff Melanson and Principal Trumpet Andrew McCandless speak with pianist Christina Petrowska Quilico about recording with late TSO Concertmaster Jacques Israelievitch.

Listen Here

CBC Music Article on Boulez

Pianist Christina Petrowska Quilico, one of Canada’s most notable interpreters of 20th and 21st-century music has written an open letter responding to the recent death of the influential composer/conductor Pierre Boulez.

In the letter, Petrowska Quilico reflects on a few key exchanges that she shared with Boulez throughout her career. They first met in the early ’70s, and Petrowska Quilico was astonished to find that Boulez remembered a letter she’d sent him years earlier as a student — and not just the content of the letter; he also remembered her name.

She recalls that Boulez once invited her to see him conduct Wagner’s Parsifal at the Bayreuth Festival. As she was leaving the opera house, Boulez pulled up in a Mercedes, offered her a ride home, and invited her to come to a second show of Parsifal — this time seated in the orchestra pit.

Aside from being a pianist, Petrowska Quilico also has a notable career as a visual artist. She credits Boulez’s scores and compositional techniques with helping her develop not just as a musician, but also in her drawings. She repaid the favour by countering some bad press Boulez received in New York with a clever cartoon. Some of the critics in New York had called Boulez “metronomic.” Petrowska Quilico sent him a drawing of a group of metronomes, one of which was saying “Boulez is not one of us.”

OPEN LETTER | Christina Petrowska Quilico Remembers Pierre Boulez – Musical Toronto

The following is an open letter written by Toronto-based pianist Christina Petrowska Quilico, one of Canada’s foremost interpreters of new music, on her memories of Pierre Boulez.

By Christina Petrowska Quilico

I received the sad news of Boulez’s passing on Wednesday, and in a momentary time warp, it seemed as if things had returned to the early 1970s, when I first met Pierre Boulez after a concert at the National Arts Centre in Ottawa.

It was the Quebec conductor Françoys Bernier who had introduced me to Boulez. I was working on my doctoral dissertation about his third sonata and had a created a lot of drawings based on his serial rows and concepts for the work.  I needed his permission to use my art in conjunction with his scores. Several years earlier, I had written him a letter called “Musical Chairs and the New Revolution,” in which I argued with some of his writings. In it, I had included a program of a recital I had performed in Paris, with the program stapled front side down: it had my photo, and I didn’t want Boulez to think I was a child.  Bernier had assured me he probably didn’t receive the letter and certainly wouldn’t remember it.  Not only did Boulez remember the letter but he also recalled my name. When I walked over to him in Ottawa, he immediately remarked: “So you are the girl who wrote me that letter.”  I was floored. He was extremely kind to me. I was a young student at the time and both very much in awe and nervous in his presence.

We met again in Cleveland when he was the guest conductor of the orchestra, and in California, where he also conducted. He seemed very taken with my art and work and encouraged me to go to Vienna to meet the boss of Universal Editions. He had given them his approval in writing to use his scores for my work. He had also invited me to Bayreuth to see him conduct Parsifal. I was studying in Darmstadt at the time and commuting to Paris. What a surprise!  After the opera as I was walking down the street, a Mercedes convertible stopped for me. It was Boulez, offering me a ride to where I was staying. I told him how much I loved his conducting of the opera and at his invitation, came a second time, but was accorded a special seat – in the orchestra pit. What a thrill it was to sit on a cushion at the foot of the conductor’s podium for Parsifal. It is one of my most treasured moments.

Pierre Boulez also wrote a letter to the CBC, giving me carte blanche to use his scores in my art for an exhibit during a performance I did of his third piano sonata.

During his time in New York, critics accused him of being too metronomic.  So I sent him a drawing I made with metronomes, one of which said, “Boulez is not one of us.”

The last time I saw him was at the CBC’s Glenn Gould Studio when he received the Glenn Gould Prize in 2002. I was playing his first piano sonata. He coached me at eight that morning. I had worked so hard to perfect every detail, only to have him change many of his original markings in the score. That is certainly a composer’s right. It shows the organic flow of the music.  It made things challenging, but after the performance, Boulez clasped both my hands in his and said, “Bravo!”  I was so moved!


Boulez’s writings on his music intrigued me as much as his compositions. He liked the same poets, authors, and artists as I – Mallarmé, e.e. Cummings, Rimbaud, Kafka, Joyce, Klee and many others.  His musical structure in his scores made me question and analyze everything from new perspectives. I now began to look at form, structure, shapes, variations and their creation and destruction. His concept of the performer/interpreter as a traveler who uses the score as a map, guided by chance and intuition as much as any preconceived plan, influenced me immeasurably. I began to think of drawing variations of buildings – inner views of rooms and their structures; buildings of scaffolding only, their changing shapes eventually emerging as abstractions made of dots and lines – from ghostly apparitions to full detail, gradually forming themselves into cities. Boulez gave me a new insight into structure and the technique to adapt and change by way of different perspectives. His use of serialism taught me discipline and control. Without Boulez, my drawings would never have developed.

Boulez was a great inspiration in my life. His early writings awoke the rebel in me. His complex scores made me work hard both intellectually and physically. His literary, poetic and artistic ideas influenced me musically and in my art.  There is a lot more to this story, and I will cherish my memories of this great composer/conductor.


Boulez’s comment on the visual art that Christina Petrowska Quilico created to Boulez’s printed score for his third piano sonata:

« J’ai vu les poèmes-graphiques de Christina Petrowska qui s’est inspirée de ma partition (3e sonate), et je suis d’accord pour qu’elle l’utilise chaque fois qu’elle voudra montrer ces graphiques très ingénieux. » 

(English translation) “I have seen the graphics of Christina Petrowska-Brégent* using very ingeniously my printed score and I agree definitely that she can use my score for showing these graphics, very inventive as they are, for any visual purpose.”

Source: OPEN LETTER | Christina Petrowska Quilico Remembers Pierre Boulez – Musical Toronto