May 30 Festival Trio
Program notes
Haydn – Piano Trio No. 35 in C major, Hob. XV:21
Joseph Haydn’s contribution to the piano trio genre is foundational, and his late trios, written during his celebrated London visits, are among the most inventive chamber works of the Classical era. The Piano Trio No. 35 in C major, composed in 1795, is a prime example of Haydn’s mature style, balancing wit, lyricism, and structural innovation.
This trio is unique among Haydn’s works for its opening—a rare, six-bar Adagio pastorale introduction. With its gentle, hymn-like chords, the introduction evokes a sense of calm anticipation, as if inviting the listener into a sunlit landscape. This brief moment of serenity is soon dispelled by the energetic Vivace assai, a movement brimming with Haydn’s trademark playfulness. Here, the piano leads with sparkling passagework, while the violin and cello provide lively interplay. Haydn, ever the musical humorist, delights in sudden dynamic contrasts and unexpected harmonic turns, keeping both performers and listeners on their toes.
The second movement, Andante, is a lyrical gem. Its singing lines and delicate textures showcase Haydn’s gift for expressive melody, with the instruments engaging in intimate conversation. The movement’s simplicity belies its subtle sophistication, as Haydn weaves together moments of tenderness and gentle melancholy.
The finale, Allegro, returns to the rustic spirit of the introduction. Its buoyant rhythms and folk-like themes evoke the countryside, while the trio’s transparent textures allow each instrument to shine. Throughout, Haydn’s mastery of form and his sense of joy in music-making are palpable. This trio is not only a testament to Haydn’s enduring creativity in his later years but also a celebration of the piano trio as a genre capable of both elegance and exuberance.
Elgar – Chanson de Nuit, Op. 15, No. 1
Chanson de Matin, Op. 15, No. 2
Salut d’Amour (Liebesgruß), Op. 12
Edward Elgar’s miniatures for violin (or cello) and piano occupy a cherished place in the repertoire, beloved for their melodic charm and emotional sincerity. Written in the late Victorian era, these pieces offer a window into Elgar’s early style, before the grandeur of the Enigma Variations and the Pomp and Circumstance marches.
Chanson de Nuit and Chanson de Matin—“Song of Night” and “Song of Morning”—were composed around 1897 and published as companion pieces. Chanson de Nuit opens the pair with a gentle, nocturnal mood. Its flowing melody, tinged with nostalgia, is supported by delicate piano harmonies, creating an atmosphere of quiet reflection. The piece’s subtle harmonic shifts and expressive phrasing reveal Elgar’s sensitivity to colour and nuance.
By contrast, Chanson de Matin is bright and optimistic, its lilting rhythm and soaring melody evoking the freshness of dawn. The interplay between the cello (or violin) and piano is light and conversational, with sparkling figurations that capture the spirit of a new day. Together, these pieces form a musical diptych, inviting listeners to contemplate the passage from night to morning, from introspection to awakening.
Salut d’Amour (Liebesgruß), composed in 1888 as a gift for Elgar’s fiancée, Caroline Alice Roberts, is perhaps the composer’s most enduringly popular work. Its title—“Love’s Greeting”—reflects both its personal origins and its universal appeal. The piece unfolds with a graceful, arching melody, supported by gently undulating piano accompaniment. Elgar’s gift for heartfelt simplicity is on full display, as the music conveys tenderness and devotion without a trace of sentimentality. Over the years, “Salut d’Amour” has been arranged for countless instrumental combinations, testament to its melodic strength and emotional resonance.
Together, these three works showcase Elgar’s melodic gift and his ability to evoke mood and atmosphere in miniature form—qualities that would later blossom in his larger-scale orchestral and choral works.
Manuel de Falla – Suite Populaire Espagnole (arranged for cello and piano)
Manuel de Falla’s Suite Populaire Espagnole is a vibrant homage to the folk music traditions of Spain. Originally composed in 1914 as Siete canciones populares españolas for voice and piano, the suite was later arranged for various instruments, including the cello, where its earthy expressivity and rhythmic vitality find a new voice.
Each of the suite’s six movements draws on a different region or style of Spanish folk music, creating a vivid musical travelogue:
1. El paño moruno (The Moorish Cloth) opens the suite with an Andalusian melody, characterized by its exotic, Moorish-inflected scale and a text that hints at the loss of innocence.
2. Nana is a haunting lullaby from Andalusia. Its gentle rocking rhythm and plaintive melody evoke the intimacy of a mother’s song.
3. Canción offers a brief, bittersweet interlude, its melody simple yet deeply expressive.
4. Polo is a fiery dance, marked by sharp rhythms and passionate outbursts—a musical portrait of Spanish intensity.
5. Asturiana transports the listener to northern Spain. A melancholy melody floating over hypnotic piano chords evokes the misty landscapes of Asturias.
6. Jota concludes the suite with a lively dance from Aragon, its infectious rhythms and exuberant spirit bringing the work to a festive close.
Falla’s music retains its vocal character in the cello and piano arrangement while gaining new colours and expressive possibilities. The cello’s singing tone and wide expressive range are ideally suited to the suite’s blend of lyricism and drama, while the piano provides both rhythmic drive and atmospheric colour. The Suite Populaire Espagnole celebrates Spain’s rich musical heritage, filtered through Falla’s modernist sensibility and deep affection for his homeland.
Shostakovich – Piano Trio No. 2 in E minor, Op. 67
Few chamber works of the 20th century are as searing or as deeply personal as Dmitri Shostakovich’s Piano Trio No. 2 in E minor, Op. 67. Written in 1944, during the darkest days of World War II, the trio is both a memorial to the composer’s close friend Ivan Sollertinsky and a broader lament for the suffering of millions during the war.
The work opens with a haunting, almost spectral theme played by the cello in harmonics—an eerie, glassy sound that immediately sets the trio apart. This theme is taken up in canon by the violin and piano, building a sense of inexorable tension. The first movement unfolds as a meditation on loss, its bleak lyricism punctuated by moments of anguish and resignation.
The second movement, a scherzo, is driven by relentless rhythms and sardonic humour. Its manic energy and grotesque character are hallmarks of Shostakovich’s style, often interpreted as a form of defiance in the face of adversity. The music’s dance-like quality is tinged with irony, as if mocking the very idea of celebration.
The third movement, a Passacaglia, is the emotional heart of the trio. Built on a repeating eight-bar bass line, it is a funeral procession, its sombre theme passed between the instruments in a series of variations. Here, Shostakovich’s gift for expressive economy is on full display—the music is spare yet devastating in its impact.
The finale bursts forth with a wild, Jewish-inflected dance, its frenetic energy masking a deep sense of tragedy. Shostakovich was profoundly affected by reports of the Nazi atrocities against the Jewish people, and the movement’s klezmer-like melodies have been interpreted as both a tribute to the victims and a cry of protest. The dance becomes increasingly frenzied, eventually collapsing into exhaustion. The trio ends as it began, with the ghostly theme of the opening, now drained of its former vitality—a final gesture of mourning and remembrance.
The Piano Trio No. 2 is one of Shostakovich’s most powerful statements, a work of raw emotion and uncompromising honesty. Its fusion of personal grief and historical witness makes it a landmark of 20th-century chamber music and a profound testament to the resilience of the human spirit in the face of unimaginable loss.
Program Note Summary:
This concert traverses a vast emotional and stylistic landscape—from Haydn’s radiant Classicism and Elgar’s lyrical miniatures, through the folkloric vibrancy of de Falla, to the harrowing depths of Shostakovich. Together, these works offer a panorama of chamber music’s capacity to express joy, nostalgia, national identity, and the deepest reaches of human sorrow.
Joseph Haydn’s contribution to the piano trio genre is foundational, and his late trios, written during his celebrated London visits, are among the most inventive chamber works of the Classical era. The Piano Trio No. 35 in C major, composed in 1795, is a prime example of Haydn’s mature style, balancing wit, lyricism, and structural innovation.
This trio is unique among Haydn’s works for its opening—a rare, six-bar Adagio pastorale introduction. With its gentle, hymn-like chords, the introduction evokes a sense of calm anticipation, as if inviting the listener into a sunlit landscape. This brief moment of serenity is soon dispelled by the energetic Vivace assai, a movement brimming with Haydn’s trademark playfulness. Here, the piano leads with sparkling passagework, while the violin and cello provide lively interplay. Haydn, ever the musical humorist, delights in sudden dynamic contrasts and unexpected harmonic turns, keeping both performers and listeners on their toes.
The second movement, Andante, is a lyrical gem. Its singing lines and delicate textures showcase Haydn’s gift for expressive melody, with the instruments engaging in intimate conversation. The movement’s simplicity belies its subtle sophistication, as Haydn weaves together moments of tenderness and gentle melancholy.
The finale, Allegro, returns to the rustic spirit of the introduction. Its buoyant rhythms and folk-like themes evoke the countryside, while the trio’s transparent textures allow each instrument to shine. Throughout, Haydn’s mastery of form and his sense of joy in music-making are palpable. This trio is not only a testament to Haydn’s enduring creativity in his later years but also a celebration of the piano trio as a genre capable of both elegance and exuberance.
Elgar – Chanson de Nuit, Op. 15, No. 1
Chanson de Matin, Op. 15, No. 2
Salut d’Amour (Liebesgruß), Op. 12
Edward Elgar’s miniatures for violin (or cello) and piano occupy a cherished place in the repertoire, beloved for their melodic charm and emotional sincerity. Written in the late Victorian era, these pieces offer a window into Elgar’s early style, before the grandeur of the Enigma Variations and the Pomp and Circumstance marches.
Chanson de Nuit and Chanson de Matin—“Song of Night” and “Song of Morning”—were composed around 1897 and published as companion pieces. Chanson de Nuit opens the pair with a gentle, nocturnal mood. Its flowing melody, tinged with nostalgia, is supported by delicate piano harmonies, creating an atmosphere of quiet reflection. The piece’s subtle harmonic shifts and expressive phrasing reveal Elgar’s sensitivity to colour and nuance.
By contrast, Chanson de Matin is bright and optimistic, its lilting rhythm and soaring melody evoking the freshness of dawn. The interplay between the cello (or violin) and piano is light and conversational, with sparkling figurations that capture the spirit of a new day. Together, these pieces form a musical diptych, inviting listeners to contemplate the passage from night to morning, from introspection to awakening.
Salut d’Amour (Liebesgruß), composed in 1888 as a gift for Elgar’s fiancée, Caroline Alice Roberts, is perhaps the composer’s most enduringly popular work. Its title—“Love’s Greeting”—reflects both its personal origins and its universal appeal. The piece unfolds with a graceful, arching melody, supported by gently undulating piano accompaniment. Elgar’s gift for heartfelt simplicity is on full display, as the music conveys tenderness and devotion without a trace of sentimentality. Over the years, “Salut d’Amour” has been arranged for countless instrumental combinations, testament to its melodic strength and emotional resonance.
Together, these three works showcase Elgar’s melodic gift and his ability to evoke mood and atmosphere in miniature form—qualities that would later blossom in his larger-scale orchestral and choral works.
Manuel de Falla – Suite Populaire Espagnole (arranged for cello and piano)
Manuel de Falla’s Suite Populaire Espagnole is a vibrant homage to the folk music traditions of Spain. Originally composed in 1914 as Siete canciones populares españolas for voice and piano, the suite was later arranged for various instruments, including the cello, where its earthy expressivity and rhythmic vitality find a new voice.
Each of the suite’s six movements draws on a different region or style of Spanish folk music, creating a vivid musical travelogue:
1. El paño moruno (The Moorish Cloth) opens the suite with an Andalusian melody, characterized by its exotic, Moorish-inflected scale and a text that hints at the loss of innocence.
2. Nana is a haunting lullaby from Andalusia. Its gentle rocking rhythm and plaintive melody evoke the intimacy of a mother’s song.
3. Canción offers a brief, bittersweet interlude, its melody simple yet deeply expressive.
4. Polo is a fiery dance, marked by sharp rhythms and passionate outbursts—a musical portrait of Spanish intensity.
5. Asturiana transports the listener to northern Spain. A melancholy melody floating over hypnotic piano chords evokes the misty landscapes of Asturias.
6. Jota concludes the suite with a lively dance from Aragon, its infectious rhythms and exuberant spirit bringing the work to a festive close.
Falla’s music retains its vocal character in the cello and piano arrangement while gaining new colours and expressive possibilities. The cello’s singing tone and wide expressive range are ideally suited to the suite’s blend of lyricism and drama, while the piano provides both rhythmic drive and atmospheric colour. The Suite Populaire Espagnole celebrates Spain’s rich musical heritage, filtered through Falla’s modernist sensibility and deep affection for his homeland.
Shostakovich – Piano Trio No. 2 in E minor, Op. 67
Few chamber works of the 20th century are as searing or as deeply personal as Dmitri Shostakovich’s Piano Trio No. 2 in E minor, Op. 67. Written in 1944, during the darkest days of World War II, the trio is both a memorial to the composer’s close friend Ivan Sollertinsky and a broader lament for the suffering of millions during the war.
The work opens with a haunting, almost spectral theme played by the cello in harmonics—an eerie, glassy sound that immediately sets the trio apart. This theme is taken up in canon by the violin and piano, building a sense of inexorable tension. The first movement unfolds as a meditation on loss, its bleak lyricism punctuated by moments of anguish and resignation.
The second movement, a scherzo, is driven by relentless rhythms and sardonic humour. Its manic energy and grotesque character are hallmarks of Shostakovich’s style, often interpreted as a form of defiance in the face of adversity. The music’s dance-like quality is tinged with irony, as if mocking the very idea of celebration.
The third movement, a Passacaglia, is the emotional heart of the trio. Built on a repeating eight-bar bass line, it is a funeral procession, its sombre theme passed between the instruments in a series of variations. Here, Shostakovich’s gift for expressive economy is on full display—the music is spare yet devastating in its impact.
The finale bursts forth with a wild, Jewish-inflected dance, its frenetic energy masking a deep sense of tragedy. Shostakovich was profoundly affected by reports of the Nazi atrocities against the Jewish people, and the movement’s klezmer-like melodies have been interpreted as both a tribute to the victims and a cry of protest. The dance becomes increasingly frenzied, eventually collapsing into exhaustion. The trio ends as it began, with the ghostly theme of the opening, now drained of its former vitality—a final gesture of mourning and remembrance.
The Piano Trio No. 2 is one of Shostakovich’s most powerful statements, a work of raw emotion and uncompromising honesty. Its fusion of personal grief and historical witness makes it a landmark of 20th-century chamber music and a profound testament to the resilience of the human spirit in the face of unimaginable loss.
Program Note Summary:
This concert traverses a vast emotional and stylistic landscape—from Haydn’s radiant Classicism and Elgar’s lyrical miniatures, through the folkloric vibrancy of de Falla, to the harrowing depths of Shostakovich. Together, these works offer a panorama of chamber music’s capacity to express joy, nostalgia, national identity, and the deepest reaches of human sorrow.
Sadie Fields
Sadie Fields, a Canadian/British violinist currently based in Brussels, enjoys a richly varied career as a soloist, chamber musician, curator, and artistic director. Her love affair with the violin began at the age of seven when her primary school visited the renowned Axelrod collection of Stradivarius violins. Mesmerized by the sound, she convinced her mother to let her start lessons, leading to a lifelong dedication to the instrument.
Performing regularly across Europe and North America, Sadie's concerts also take her further afield, including to Asia, the Middle East, and New Zealand. A passionate advocate for chamber music, she was the founding leader of the Castalian String Quartet and violinist of Trio Khnopff. She also founded the Belgium-based Flash Ensemble, a flexible chamber group centred around a string trio, and is a member of the Festival Trio in Canada. In addition to her ensemble work, Sadie collaborates with a range of distinguished pianists and recently formed a duo with Italian accordionist Luca Piovesan. Most recently, Sadie has been appointed leader of the acclaimed Edinburgh Quartet, an ensemble with a rich history spanning over more than 60 years.
As a recording artist, Sadie’s most recent recording features Flash Ensemble’s pioneering interpretation of the complete string trios by Hungarian composer László Lajtha (Pavane Records, 2023), and was awarded 5 stars in Diapason. Another recording, ‘Weinberg – 1945’, by Trio Khnopff, was celebrated by critics in both Europe and North America and was selected as BBC Music Magazine’s ‘Chamber Disc of the Month’ for January 2020. Sadie’s discography also includes several recordings for BIS Records with Camerata Nordica (Sweden), as well as two highly acclaimed albums with Champs Hill Records. Her Mendelssohn chamber music disc earned BBC Music Magazine’s Editor’s Choice and ‘Chamber Disc of the Month’ honours, as well as the German Record Critics’ Award for ‘Chamber Music Disc of the Quarter.’ Her second Champs Hill release, featuring the complete Brahms Sonatas with pianist Jeremy Young, also received widespread critical acclaim.
Sadie is the founder and director of the Mini Concerts series in Brussels and has recently taken up the role of artistic director of the Music in Rannoch concert series in the Highlands of Scotland.
Sadie holds a PhD from the Royal Academy of Music in London, where her practice-led doctoral research explored practical and philosophical ideas surrounding the concepts of learning and tradition, with a focus on her engagement with Bartók’s violin works. She has been awarded prizes and scholarships from over twenty UK and international organizations, and she has held prestigious fellowships, including the Leverhulme Fellowship at the Royal Academy of Music and the Edison Visiting Fellowship at the British Library.
Guided by principal teachers György Pauk, Yair Kless, and Atis Bankas, as well as the mentorship of Ivry Gitlis, Ida Haendel, and Ferenc Rados, Sadie has also benefited. As an educator, she teaches violin and chamber music, has taught at King's College London, and offers masterclasses at conservatories and universities in China, Canada, and the UK.
Sadie plays on a very fine Italian violin made by Gioffredo Cappa in 1687.
Performing regularly across Europe and North America, Sadie's concerts also take her further afield, including to Asia, the Middle East, and New Zealand. A passionate advocate for chamber music, she was the founding leader of the Castalian String Quartet and violinist of Trio Khnopff. She also founded the Belgium-based Flash Ensemble, a flexible chamber group centred around a string trio, and is a member of the Festival Trio in Canada. In addition to her ensemble work, Sadie collaborates with a range of distinguished pianists and recently formed a duo with Italian accordionist Luca Piovesan. Most recently, Sadie has been appointed leader of the acclaimed Edinburgh Quartet, an ensemble with a rich history spanning over more than 60 years.
As a recording artist, Sadie’s most recent recording features Flash Ensemble’s pioneering interpretation of the complete string trios by Hungarian composer László Lajtha (Pavane Records, 2023), and was awarded 5 stars in Diapason. Another recording, ‘Weinberg – 1945’, by Trio Khnopff, was celebrated by critics in both Europe and North America and was selected as BBC Music Magazine’s ‘Chamber Disc of the Month’ for January 2020. Sadie’s discography also includes several recordings for BIS Records with Camerata Nordica (Sweden), as well as two highly acclaimed albums with Champs Hill Records. Her Mendelssohn chamber music disc earned BBC Music Magazine’s Editor’s Choice and ‘Chamber Disc of the Month’ honours, as well as the German Record Critics’ Award for ‘Chamber Music Disc of the Quarter.’ Her second Champs Hill release, featuring the complete Brahms Sonatas with pianist Jeremy Young, also received widespread critical acclaim.
Sadie is the founder and director of the Mini Concerts series in Brussels and has recently taken up the role of artistic director of the Music in Rannoch concert series in the Highlands of Scotland.
Sadie holds a PhD from the Royal Academy of Music in London, where her practice-led doctoral research explored practical and philosophical ideas surrounding the concepts of learning and tradition, with a focus on her engagement with Bartók’s violin works. She has been awarded prizes and scholarships from over twenty UK and international organizations, and she has held prestigious fellowships, including the Leverhulme Fellowship at the Royal Academy of Music and the Edison Visiting Fellowship at the British Library.
Guided by principal teachers György Pauk, Yair Kless, and Atis Bankas, as well as the mentorship of Ivry Gitlis, Ida Haendel, and Ferenc Rados, Sadie has also benefited. As an educator, she teaches violin and chamber music, has taught at King's College London, and offers masterclasses at conservatories and universities in China, Canada, and the UK.
Sadie plays on a very fine Italian violin made by Gioffredo Cappa in 1687.
Paul Pulford
Paul Pulford is a chamber musician, soloist, conductor, and educator. Since his debut recital in Winnipeg, he has performed on four continents and has recorded over 30 CDs. For over 25 years, Pulford pursued a passion for the string quartet, playing with the internationally acclaimed Penderecki String Quartet from 1990 to 2013 and the Orford String Quartet from 1987 to 1989. With the Penderecki Quartet, he recorded numerous CDs, including the Bartók String Quartets, Brahms, Shostakovich, and Schnittke Piano Quintets, as well as the quartets of Penderecki and many works by Canadian composers. As a quartet player, Pulford has performed in many of the great venues of the world, including Concertgebouw in Amsterdam, Wigmore Hall in London, Oratorio del Gonfalone in Rome, La Caixa in Barcelona, Weill Recital Hall at Carnegie Hall in New York City, Kennedy Centre in Washington, Los Angeles County Museum of Art, Takefu Festival in Japan, Palacio de Bellas Artes in Mexico City, and major Canadian venues such as the National Arts Centre, Glenn Gould Studio, and St. Lawrence Centre.
From 1989 to 2017, Pulford was Professor of Cello and Director of Orchestral Studies at Wilfrid Laurier University in Waterloo, where he also served for seven years as Associate Dean of the Music Department. During his tenure at Laurier, he developed a professional-level orchestral training program and taught and mentored numerous cellists and orchestral musicians who are now established professionals in the Canadian and international music worlds. In 1991, Pulford founded QuartetFest, a festival based at Laurier that celebrates the art of the string quartet with performances by international ensembles and mentorship of emerging string quartets from around the world. Pulford remains Professor Emeritus at Laurier.
As a conductor, Pulford has worked with Symphony New Brunswick, the Kitchener-Waterloo Symphony, the Canadian Chamber Ensemble, the Mississauga Symphony, the Stratford Symphony Orchestra, and as Resident Conductor of the NUMUS Ensemble. He has conducted many premieres of new works, including Tim Brady’s opera The Salome Dancer and Glenn Buhr’s Red Sea (2010) and Piano Concerto (2015). Pulford maintains a passionate commitment to contemporary music through his involvement with Blue Rider Ensemble, which he co-founded in 1989. Based in Montreal, Blue Rider specializes in 20th and 21st-century Instrumental Theatre works, having released a highly acclaimed CD recording of Schoenberg’s Pierrot Lunaire, premiered experimental works such as Peter Hatch’s Mounting Picasso, and created new works, including the large-scale multi-media work Frankenstein’s Ghosts.
Pulford continues to perform and record as a soloist. He has recorded the complete works for cello and fortepiano by Beethoven (IBS Label) and Brahms (Doremi Label). His most recent CD, Volume I, Suites 1, 2, and 3 for Solo Cello by J.S. Bach, is available on iTunes. He is currently working on Volume II. Pulford was an artist-in-residence at UNB Fredericton as a member of the New Brunswick String Quartet from 1984 to 1989. He lives in Long Reach, New Brunswick.
Since 2014, Pulford has also been a member of the Festival Trio, performing with violinist Sadie Fields and pianist Ken Gee. The trio, though based in different parts of the world, shares a deep musical connection and a common link to the city of Guelph. They reunite regularly to perform at Guelph Musicfest and other venues in Ontario, building on their friendship and shared musicality. Their performances are marked by a sense of camaraderie and artistry that resonates with audiences, and they have become a cherished ensemble in the region’s chamber music scene.
From 1989 to 2017, Pulford was Professor of Cello and Director of Orchestral Studies at Wilfrid Laurier University in Waterloo, where he also served for seven years as Associate Dean of the Music Department. During his tenure at Laurier, he developed a professional-level orchestral training program and taught and mentored numerous cellists and orchestral musicians who are now established professionals in the Canadian and international music worlds. In 1991, Pulford founded QuartetFest, a festival based at Laurier that celebrates the art of the string quartet with performances by international ensembles and mentorship of emerging string quartets from around the world. Pulford remains Professor Emeritus at Laurier.
As a conductor, Pulford has worked with Symphony New Brunswick, the Kitchener-Waterloo Symphony, the Canadian Chamber Ensemble, the Mississauga Symphony, the Stratford Symphony Orchestra, and as Resident Conductor of the NUMUS Ensemble. He has conducted many premieres of new works, including Tim Brady’s opera The Salome Dancer and Glenn Buhr’s Red Sea (2010) and Piano Concerto (2015). Pulford maintains a passionate commitment to contemporary music through his involvement with Blue Rider Ensemble, which he co-founded in 1989. Based in Montreal, Blue Rider specializes in 20th and 21st-century Instrumental Theatre works, having released a highly acclaimed CD recording of Schoenberg’s Pierrot Lunaire, premiered experimental works such as Peter Hatch’s Mounting Picasso, and created new works, including the large-scale multi-media work Frankenstein’s Ghosts.
Pulford continues to perform and record as a soloist. He has recorded the complete works for cello and fortepiano by Beethoven (IBS Label) and Brahms (Doremi Label). His most recent CD, Volume I, Suites 1, 2, and 3 for Solo Cello by J.S. Bach, is available on iTunes. He is currently working on Volume II. Pulford was an artist-in-residence at UNB Fredericton as a member of the New Brunswick String Quartet from 1984 to 1989. He lives in Long Reach, New Brunswick.
Since 2014, Pulford has also been a member of the Festival Trio, performing with violinist Sadie Fields and pianist Ken Gee. The trio, though based in different parts of the world, shares a deep musical connection and a common link to the city of Guelph. They reunite regularly to perform at Guelph Musicfest and other venues in Ontario, building on their friendship and shared musicality. Their performances are marked by a sense of camaraderie and artistry that resonates with audiences, and they have become a cherished ensemble in the region’s chamber music scene.
Ken Gee
Ken Gee is a Canadian classical pianist based in Guelph, Ontario, originally from Hamilton. He studied music at McMaster University, where he was awarded the McMaster Medal for the Creative and Performing Arts, and pursued further piano studies in Toronto with Boris Berlin.
Ken is an active performer, collaborator, and educator. He is the founder and artistic director of Guelph Musicfest, an annual concert series held at the Guelph Youth Music Centre Recital Hall, where he regularly performs chamber music, solo recitals, and concertos with orchestra. He has also established the Festival Trio, collaborating with violinist Sadie Fields and cellist Paul Pulford.
In addition to his concert work, Ken is deeply involved in music education and community music-making. He serves as the pianist for the Suzuki String School of Guelph, was a longtime pianist for the Guelph Youth Singers, and is a regular accompanist at competitions such as the Ontario Music Festivals Association (OMFA) Provincial Finals, Suzuki summer institutes, Royal Conservatory of Music (RCM) exams, and local festivals. He is known for his expertise in violin and cello repertoire and is a sought-after piano collaborator for both instrumentalists and choirs. Ken was very involved with the development of the Guelph Youth Music Centre (GYMC). He was a longtime board member, serving a term as Chair, and his initiatives included the creation of the Guelph Youth Symphony Orchestra, in collaboration with the Guelph Symphony Orchestra, which continues today as the Guelph Symphony Youth Orchestra. He is now a member of the organizing committee for the Guelph Kiwanis Music Festival. In 2008, he was the recipient of a City of Guelph Mayor’s Award.
Ken’s studio is equipped for professional audio and MIDI recording, allowing him to produce accompaniment tracks for students and professionals. His commitment to working with young musicians and treating their performances with professional care is widely recognized in the community and he is also a computer-based music engraver and designer for the RCM.
Ken Gee’s programming as a performer and festival director often features a diverse range of chamber and solo repertoire, including works by Tchaikovsky, Amy Beach, Debussy, Brahms, and Chopin, among others. His contributions to the music scene in Guelph and beyond have made him a respected figure in Canadian classical music circles.
Ken is an active performer, collaborator, and educator. He is the founder and artistic director of Guelph Musicfest, an annual concert series held at the Guelph Youth Music Centre Recital Hall, where he regularly performs chamber music, solo recitals, and concertos with orchestra. He has also established the Festival Trio, collaborating with violinist Sadie Fields and cellist Paul Pulford.
In addition to his concert work, Ken is deeply involved in music education and community music-making. He serves as the pianist for the Suzuki String School of Guelph, was a longtime pianist for the Guelph Youth Singers, and is a regular accompanist at competitions such as the Ontario Music Festivals Association (OMFA) Provincial Finals, Suzuki summer institutes, Royal Conservatory of Music (RCM) exams, and local festivals. He is known for his expertise in violin and cello repertoire and is a sought-after piano collaborator for both instrumentalists and choirs. Ken was very involved with the development of the Guelph Youth Music Centre (GYMC). He was a longtime board member, serving a term as Chair, and his initiatives included the creation of the Guelph Youth Symphony Orchestra, in collaboration with the Guelph Symphony Orchestra, which continues today as the Guelph Symphony Youth Orchestra. He is now a member of the organizing committee for the Guelph Kiwanis Music Festival. In 2008, he was the recipient of a City of Guelph Mayor’s Award.
Ken’s studio is equipped for professional audio and MIDI recording, allowing him to produce accompaniment tracks for students and professionals. His commitment to working with young musicians and treating their performances with professional care is widely recognized in the community and he is also a computer-based music engraver and designer for the RCM.
Ken Gee’s programming as a performer and festival director often features a diverse range of chamber and solo repertoire, including works by Tchaikovsky, Amy Beach, Debussy, Brahms, and Chopin, among others. His contributions to the music scene in Guelph and beyond have made him a respected figure in Canadian classical music circles.
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