Elizaveta Miller and the harpsichord/ Elizaveta and the harpsichord

Why harpsichord? Why 300-400 years old music? How to listen to it? What does it express and how can we relate to what people felt so long ago? All these scary questions come to mind when we think of a Baroque music concert, and Elizaveta Miller will try to give you some answers - by sharing her ideas about this amazing and rich period of Western musical culture, and by playing on her harpsichord, built after one of the instruments that belonged to JS Bach.

Why harpsichord? Why 300-400 year old music? How should we listen to it? What does it express and how can we relate to what and how people felt so long ago? All these scary questions come to mind when we think of a baroque music concert, and Elizaveta Miller will try to give you some answers - sharing her ideas about this amazing and oh so rich period in Western musical culture, and playing her harpsichord, built after one of the instruments that belonged to JS Bach.

Antonio de Cabezón (1510-1566)

Differences about 'El Canto del Caballero'

Girolamo Frescobaldi ((1583-1643)

Toccata prima Cento partite sopra passacagli

Antoine Forqueray (1672-1745)

The Couperin The Bush

Domenico Scarlatti (1685-1757)

Sonata in B minor K27 in D major K214 ——

Johann Sebastian Bach (1685-1750)

French suite in G major BWV 816: Allemande, Courante, Sarabande, Gavotte, Bourrée, Loure, Gigue

François Couperin (1668-1733)

Selections of the 14th Order: The Nightingale in Love, The Frightened Linette, The Plaintive Warblers

Elizaveta is a true and inspired multi-instrumentalist who plays most of the keyboard

instruments: harpsichord, fortepiano and piano but also clavichord and organ. Her repertoire

covers five centuries of music, from late Renaissance to contemporary. In 2013, she became the

first prize winner of the Bruges Musica Antiqua Competition. She has performed throughout

Europe and Russia, taking part in the Bruges MA Festival, Beethovenfest Bonn, Bozar Music,

Dubrovnik Music Festival and The Homecoming Music Festival. As a continuo player, she has

collaborated with numerous conductors, including Václav Luks, Reinhard Goebel, Maxim

Emelyanychev, Robert Hollingsworth, Christian Curnyn, and others. Elizaveta studied at the

Moscow Tchaikovsky Conservatory and at Yale School of Music. She held a teaching position at

the Moscow State Conservatory in historical instruments department for 9 years but resigned

and left the country in March 2022 after the beginning of the full-scale Russian aggression on

Ukraine. In May 2022 she received an offer from the McGill University in Montreal, where she is

now holding a position of Assistant Professor of harpsichord. In 2024 she founded the ensemble

Les Temps Perdus with the former McGill student Jessica Korotkin.

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Elizaveta is an inspired multi-instrumentalist who plays most keyboard instruments:

harpsichord, pianoforte and piano but also clavichord and organ. His repertoire covers five centuries

of music, from the Renaissance to contemporary music. In 2013, she was awarded the

first prize in the Bruges Musica Antiqua competition. She has performed throughout Europe and in

Russia, participating in the MA Festival in Bruges, Beethovenfest Bonn, Bozar Music Festival,

Dubrovnik Music Festival and the Homecoming Music Festival. As a continuo player,

She has collaborated with many conductors, including Václav Luks, Reinhard Goebel, Maxim

Emelyanychev, Robert Hollingsworth, Christian Curnyn and many others. Elizaveta studied at the

Moscow Tchaikovsky Conservatory and the Yale School of Music. She held a position

as a teacher at the Moscow Conservatory in the department of historical instruments

for 9 years, but resigned and left the country in March 2022 after the start of

Russia's declared aggression against Ukraine. In May 2022, she received an offer of

McGill University in Montreal, where she now holds the position of assistant professor of

harpsichord. In 2024 she founded the ensemble Let Temps Perdus with former McGill student Jessica

Korotkin.

If for any reason you have difficulty with payments on the site, you can simply make an interact transfer to the following address: info@dissonances.studio

Please add taxes to the amount sent if this is the case:

$50.00 + taxes = $57.49

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(you will see as recipient an “auto-deposit” in the name of 9445-2125 Québec inc.)

If for any reason you have difficulty with payments on the site, you can simply make an interact E-transfer to the following address:

info@dissonances.studio

Please add the sales taxes to the amount sent if this is the case:

$50.00 + taxes = $57.49

$60.00 + taxes = $68.99

(you will see as recipient an "auto-deposit" in the name of 9445-2125 Québec inc.)

General Policy

Tickets are non-refundable but can be transferred to another Studio Dissonance member. Subscriptions are non-refundable and non-transferable.

Tickets are non-refundable but can be transferred to another Studio Dissonance member. Subscriptions are non-refundable and non-transferable.