Welcome!

Deadlines to apply

February 5, 2018. You will automatically be considered for a scholarship if you apply before that date and if all of the audition material has been received.

March 29, 2018. Without a scholarship, acceptances according to available places.

Successful applicants will have to pay 50% of the fees within 14 days after the reception of the acceptance letter in order to reserve their place.

The full balance must be paid before May 4, 2017. In case of cancellation, the first payment is non-refundable. The second payment can be reimbursed if the student notifies the Admission Coordinator by e-mail at admissions@orford.mu, at the latest one month (30 days) before the first day of the stay. A $50 administration fee will then be deducted from the amount.

If a medical problem beyond your control prevents you from taking part in the Orford Music Academy, your deposit may be used for the subsequent year when a medical certificate is provided. However, you will have to go through the full audition process and be accepted again. If a scholarship was granted to you, it is not transferable to the following year.

Fees

  • tuition fees;
  • room in double occupancy;
  • meals at the Orford Music cafeteria;
  • access to concerts at the Orford Music Festival, subject to availability of tickets
  • access to the training room

Multi-level Rates:

The rate for a one-week stay is $995.
The rate for a two-week stay is $945 per week.
For three weeks or more, the rate is $895 per week.

Voice and Piano Duet

Multi-level Rates:

The rate for a one-week stay is $995.
The rate for a two-week stay is $945 per week.
For three weeks or more, the rate is $895 per week.

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Improvisation 
Baroque Music
Fingerstyle Guitar
How to Reach your Full Potential
How to Win an Audition
How to Stand Out as a Chamber Musician

$895

If you add one week of master class, the rate will be $945.
For a stay of three weeks or more, the rate is $895 per week.

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Piano Trio
Orford Winds
Composition
Contemporary Music

$1790

If you add one or more weeks of master classes:
The rate will be $895 per week.

Collaborative pianists

The collaborative pianists who participate every summer in the Orford Music Academy offer an outstanding professional service, enabling students to focus on their own learning. Their work is recognized and appreciated by the many professors who have worked alongside them over the years.

Liz Ames

Liz Ames is passionate about collaborating with instrumentalists, vocalists and composers. As a pianist who specializes in performing with saxophonists, she has concentrated on learning the history of the saxophone, tendencies of the instrument, and its repertoire throughout her education and professional career. Liz often performs at saxophone conferences around the world including the North American Saxophone Alliance national and regional conferences as well as the World Saxophone Congress. She has recently recorded with saxophonists Stephen Page, Eddie Goodman, and Tim McAllister.

In addition to her work on stage, she writes piano reductions for concertos. With the limited availability of a full orchestra or ensemble, piano reductions allow instrumentalists to study these works which are staples in the repertoire; thus allowing teachers to use these pieces as a way to teach technique and musical expression. Completed reductions include John Mackey’s Concerto for Soprano Saxophone and Wind Ensemble, Tuba Concerto by Don Grantham, Sounds of Sirius by Joel Puckett, Concerto for Alto Saxophone an Orchestra by Henry Brant, and Concerto for Alto Saxophone and Wind Ensemble by Steven Bryant.

As a pianist for many wind players, Liz has performed at the International Double Reed Society Conference in 2012, 2016, and will also be performing at the IDRS Conference in the summer of 2018. She has recorded three pieces by Chiel Meijering with bassoonist, Lynn Hileman. During her doctoral work, Liz performed the entire book of 114 Songs by Charles Ives in a series of four recitals. She has performed with the Music Institute of Chicago Chorale and was the pianist for the Scottsdale Choral Artists in Scottsdale, Arizona for three years.

Liz has been the pianist as part of the Interlochen Saxophone Institute since 2014. In 2016, her work with the Institute continued alongside Tim McAllister, Zach Shemon, Taimur Sullivan, and Eddie Goodman. In collaboration with the Mana Saxophone Quartet, she was a part of the premiere for a quintet by Stephen Dankner at the Mana Saxophone Institute in Chestertown, MD. She was also the pianist for the NewBassoon workshop at Eastman where she performed with Lynn Hileman.

Liz received her doctorate in collaborative piano from Arizona State University where she studied with Russell Ryan. She currently lives in Ann Arbor, Michigan and performs often with her duo partner, Tim McAllister, and his saxophone studio at the University of Michigan.

Jeanie Chung

Jeanie Chung

Pianist Jeanie Chung enjoys an active and varied performing career. She has given solo recitals, concerto performances and chamber music concerts throughout North America, Central America, Europe, Asia, and Africa.

Recent and long term collaborations include projects with Barry Shiffman, Andres Diaz, Colin Carr, Rachel Mercer, Ian Swensen, Yehonatan Berick; Robert Langevin, Susan Hoeppner, Frank Morelli, Shalom Bard, YaoGuang Zhai; William Vermeulen, Michael Sachs; Alexander Dobson; Laurence Lemieux, Margie Gillis, and Ted Robinson.

Following her studies at The Glenn Gould School and The Taylor Academy for Young Artists at the Royal Conservatory of Music in Toronto, she attended the Juilliard School where she obtained Bachelor of Music, Masters of Music, and Doctor of Musical Arts degrees. Her principal teachers have been Boris Lysenko, Leon Fleisher, John Perry, and Herbert Stessin.

Chung was the recipient of the Career Development Award from the Women’s Musical Club of Toronto and numerous grants from the Canada Council and Chalmers Fund.

She has been a faculty member at The Banff Centre and is presently on faculty at the Royal Conservatory of Music’s Taylor Academy for Young Artists.

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Élise Desjardins

Canadian pianist Elise Desjardins quickly established a solid reputation as a pianist accompanist and chamber music pianist. Here, and abroad, she collaborates with musicians such as violists Jutta Puchhammer, Steeve Dann, Bruno Giurana, the violinists David Stewart, Richard Roberts, Tom Williams, the cellists Carole Sirois, Thomas Wiebe, Paul Marley, the bassists Ali Yazdanfar, René Gosselin, the oboists Hansjorg Schellenberger, Olivier Doise, Lise Beauchamp, and the bassoonists Mathieu Harel and Michel Bettez.

Her association with Jutta Puchhammer for more than ten years has led her to tour in Europe, the United States and Canada. She is regularly invited as a chamber musician to participate in international events: International Viola Congress, Double-Reed Society, Double Bass Congress, International Festival of Domaine Forget, Summer Music in Galway. In addition, Canadian violinist David Stewart regularly invites her to perform on tour in China, Canada and Ireland.

Elise Desjardins became an accompanying professor at the Conservatoire de musique in Montreal in 1998. She has been a member of the pianist team at the Domaine Forget Academy of Music since 1999. She holds a First Prize in Piano, a First Prize in Music Chamber from the Conservatoire de musique du Québec and a Master in Music with honors from Indiana University. She is also the recipient of numerous Québec government scholarships.

The recording of two compact discs “Phantasiestucke” and “German romantic works” earned her the praise of the reviews of the Fanfares, and Scena Musicale magazines. A third album, “Pièces de Concours”, has just appeared on the Parma Records label. The scores of these pieces are published by the German house Schott, and Elise Desjardins has revised the piano part. She is often heard on the Canadian Broadcasting Corporation.

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Rachael Kerr

Pianist Rachael Kerr, a returning member of the Canadian Opera Company’s Ensemble Studio, was the bronze medalist in the 2015 Ziering-Conlon Art Song Competition. Hailing from Chicago, where she holds a doctorate from Northwestern University, she has performed with the Chicago Chamber Musicians and as the harpsichordist for the Northwestern University Opera Theatre. In addition to serving on the Music Theory faculty, she was also a winner of a Farwell Trust Award in solo piano.

In Toronto, Ms. Kerr has frequently collaborated with the Toronto Symphony Orchestra as both an orchestral pianist and a rehearsal pianist, along with performances with the Beijing Symphony Orchestra, Niagara Symphony Orchestra, National Ballet of Canada Orchestra, the Elmer Iseler Singers, and the Amadeus Choir. In addition to working as an accompanist for the University of Toronto and the Glenn Gould School at the Royal Conservatory of Music, Rachael Kerr has also worked closely with Against the Grain Theatre and recently appeared with the Mozart Project. Previously, she was the Coordinator of Collaborative Piano at the Interlochen Center for the Arts, and a staff pianist at the International Trumpet Guild Conference and the Vianden International Music Festival in Luxembourg.

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Sandra Murray

Sandra Murray is currently pursuing a brilliant career as a chamber musician and piano accompanist to several well-known Canadian and foreign artists. She has performed at the ProMusica Series, the Montreal Chamber Music Festival, the Festival international de Lanaudière, the Festival du Domaine Forget, the Rendez-vous musical de Laterrière, the Festival des Basses-Laurentides, at Orford Music and at the Festival of the Sound in Parry Sound.  She is also a piano accompanist at the Orford Music Academy for classes given by Laurence Lesser, Michel Strauss, Jonathan Crow, Richard Aaron and Maurizio Fuks.

Ms. Murray has made two recordings with the piano duo Ouellet-Murray, which include Stravinsky’s The Rite of Spring. She also participated in the first Jerusalem International Chamber Music Festival, working alongside Emmanuel Ax, Yo-Yo Ma, Isaac Stern and Yefim Bronfmann.

Sandra Murray is currently working at the Montreal Music Conservatory as a professor and accompanist.

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Claire Ouellet

A much respected and sought after pianist, Claire Ouellet plays as a chamber musician as well as a soloist. In Canada, she can be seen performing in the Pro Musica Series, at the Orford Music Festival, Domaine Forget, Sainte-Pértronille de Laterrière and Lanaudière Festival. Soloist with several Canadian orchestras, she has also been invited to play with the Grenada Symphony Orchestra in Spain. She played many concerts in France, Switzerland, Germany and Czechoslovakia.

A member of the piano Ouellet-Murray piano duo, Claire Ouellet has made two recordings (CBC Records) that have been acclaimed by critics internationally. Claire Ouellet has a Doctorate degree in interpretation from the University of Montreal and now works as a teacher-accompanist at the Conservatoire de musique de Montréal.

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Mariane Patenaude

Mariane Patenaude’s musical training began at the age of six.  She started at the Vincent-d’Indy music school under Thérèse Brouillette, and then studied at Pierre-Laporte secondary school with Charlotte Dumas and at the Conservatoire de musique et d’art dramatique de Montréal  under Raoul Sosa.

Mariane Patenaude is the recipient of numerous scholarships and prizes, including the Prix d’Europe (1998) and the Canadian Music Centre’s Special Award.  Her talents have been highly sought-after by both instrumentalists and singers since graduating from the CMAD. She has pursued her training with Francis Dubé and Monique Deschaussées.  Her passion for voice led her to study with France Dion and Pierre Molet, and she currently works with Gabrielle Lavigne.

Mariane Patenaude’s career has taken her across Canada, to the United Stated and to Europe.  She has performed recitals with violinist Pascale Giguère and flutist Mathieu Dufour, among others.

Mariane Patenaude has been a pianist and professor at the Conservatoire de musique et d’art dramatique de Montréal since the fall of 2012, a pianist at Orford Music since 2002, and has directed the Les Voix d’Elles girls’ choir since 2014.  She is a founding member of the trio Polymnie and of Orford Six Pianos, and has been featured in a number of recordings for radio and television as well as under the labels Atma, Analekta, SNE, Richelieu and XXI.

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Francis Perron

Experienced chamber musician, accompanist and vocal coach Francis Perron is a sought-after partner. This experience led him to close collaborations with, among others, the Montreal Symphony Orchestra, the Nouvel Ensemble Moderne, the Quebec Symphony Orchestra, the Vienna Chamber Opera, conservatories of Vienna and Zurich Winterthur, ARD Musik Wettbewerb, the Salzburg Summer Academy, University of Freiburg, the International Violin Competition of Avignon, the International Fritz Kreisler Violin Competition in Vienna, the Festival de Royaumont, the Montreal International Musical Competition, Vancouver International Song Institute, the Canadian Vocal Arts Institute and Orford Music. In May 2013, he was awarded for best voice-piano duo of the Positively Poulenc Competition in New York.

Founding member of the Orford Six Pianos ensemble, Francis Perron already has several recordings to his credit and has been heard many times on Radio-Canada, CBC and Radio-France International. He is also pursuing an active career as a pianist, both in Europe and North America. He is currently Assistant Professor at the Faculty of Music of the University of Montreal and head of the accompanying program of the same institution.

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Brigitte Poulin

Montreal pianist Brigitte Poulin is an active and accomplished soloist, chamber musician, vocal accompanist and teacher whose repertoire covers all periods from the invention to the deconstruction of the piano. A proponent of 20th and 21st century music, Brigitte has commissioned and premiered more than fifty works for solo piano, prepared piano and various chamber ensembles.

Brigitte studied at the Vienna Music Academy, the Montreal Music Conservatory, and has been a frequent guest at the Banff Centre for the Arts before obtaining a doctorate from the Université de Montréal.

She has performed in Italy, Belgium, France, Cyprus, Holland, Austria, Germany, England, USA and throughout Canada.

A founding member of Ensemble Transmission, she counts among her frequent and faithful collaborators singers Ingrid Schmithüsen and Vincent Ranallo, double bassist Ali Yazdanfar and pianist Jean Marchand.

Brigitte Poulin teaches as a part-time lecturer at both the Schulich Music School of McGill University and the Université de Montréal. She is regularly called upon to adjudicate Arts Councils grant proposals as well as Canadian Music Competitions. She is as well a member of the Summer Academy of the Domaine Forget since 2001.

Her most recent recordings include: Folklore imaginaire, music by Ana Sokolović (Naxos), Pierrot lunaire (Atma), Transmission, Attacama (Atma), My Twentieth Century (Ambiances magnétiques), R. Murray Schafer / 3 Solos (Centrediscs), and Édifices Naturels: solo piano works from Canadian composers (Dame).

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Yannick Rafalimanana

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Pamela Reimer

Soloist and accompanist, performing current and contemporary works, Pamela Reimer studied with Tom Plaunt, Louis-Philippe Pelletier, Gyorgy Sebok, Lorraine Vaillancourt and Frederic Rzewski. She played in the UK, Scotland, New Zealand, Austria, Switzerland and across Canada and the Eastern United States. She has been heard on the BBC and CBC radio, and on Radio-Canada in Montreal and Ottawa.

As a soloist she has performed concertos by Grieg, Mendelssohn and Beethoven, Preludes and Fugues from Shostakovich, and major works by Claude Vivier (Shiraz) and Elliott Carter (Night Fantasies). Pamela offers music recitals incorporating theatrical elements, including speech and movement; she gave the first Canadian theatrical works for piano by Randall Woolf, Jerome Kitzke, Aaron Jay Kernis, Elena Kats-Chernis, Christopher Fox, Martin Bresnick, and a creation with the composer and pianist Charles-Antoine Fréchette.

In concert with Les Grands Ballets Canadiens, she played for the first Canadian of the Polyphonia ballet (in 2004 and again in 2007), with music for piano by Gyorgy Ligeti, and Rubies (2008), playing Capriccio for Piano and Orchestra by Stravinsky. In dance, she joined the percussionist Philip Hornsey to play duets by Howard Bashaw, James Harley, Nicolas Gilbert and Michael Oesterle for the choreography of Dominique Porte (Exit, 2006).

In addition to her numerous appearances with the Bradyworks Ensemble, the Blue Rider Ensemble and the Contemporary Ensemble of Montreal, Pamela worked with the Warhol Ensemble, the KORE Ensemble and in duo with percussionist Beverley Johnston. With these ensembles, she created numerous works of Canadian composers. She also worked with composer Tristan Evans to the presentation of a piece for piano and computer software Pure Data.

Accompanist appreciated by singers and instrumentalists, she was selected as accompanist for the Concours international de violon des Jeunesses musicales, the competition of the Montreal Symphony Orchestra and the summer programs at Orford Music and Domaine Forget. Pamela has also played in Les Grands Ballets Canadiens orchestra, the McGill Chamber Orchestra, the Montreal Symphony Orchestra and regularly participates to the Chamber Music Festival in Ottawa.

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Louis Dominique Roy

Louis Dominique Roy studied piano with Helmut Blume in Montreal and Harald Ossberger in Vienna. He is currently teaching at the Cégep de Saint-Laurent. His work with young singers and instrumentalists led him to perform in recital throughout Canada and in several European countries. He was the pianist of the Saint-Laurent Choir and the choirs of the Montreal Symphony Orchestra for twelve years, where he worked regularly with world famous conductors such as Kent Nagano, Charles Dutoit, Zubin Mehta, Jean-Claude Casadesus, Michel Plasson, Jacques Lacombe and Eliahu Inbal. He participated in the preparation of the Requiem by Krzysztof Penderecki during his visit in Montreal.

Inspired by the people he meets as well as some readings, he likes to compose. He is the author of many songs about Quebec texts, piano pieces and pieces of choral music.

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