Linda Pearse: Artistic Director

Canadian Linda Pearse is recognized as a Baroque bass trombonist and specialist in the exquisite musical repertoire of early seventeenth-century Italy. Pearse is Associate Professor of Music at Mount Allison University (New Brunswick) and serves as Adjunct Lecturer for Early Trombones at Indiana University Bloomington.  Following studies at McGill University and the Schola Cantorum (Basel), her career in Europe included regular performances with the Stuttgart Philharmoniker, the Stuttgart Opera House, the Basel Symphony, La Cetra, piano possibile, and the Stuttgart Musical Theater. Pearse is Artistic Director of the San Francisco Early Music Baroque Workshop (USA) and the Sackville Festival of Early Music (Canada). Pearse is also Artistic Director of the award-winning early brass and string ensemble ¡Sacabuche! Extensive touring includes performances in Beijing (China), Hong Kong and Macau (China), Hawaii, Chicago, Seattle, Victoria, Nanaimo, Salt Spring Island, Calgary, Vancouver, Minneapolis, Indianapolis, New York, San Francisco, Bloomington (IN), Madison (WI), Kansas City, and Houston. In addition to work with ¡Sacabuche!, Pearse has engaged in recent performances with Tafelmusik, La Rose des Vents, Pacific MusicWorks (Seattle), The Toronto Consort, Music of the Baroque (Jane Glover), Ensemble Caprice (Montréal), and the Spiritus Chamber Choir (Timothy Shantz).   


Her critical edition of Seventeenth-Century Italian Motets with Trombone is published with A-R Editions (April 2014). Pearse has taught Baroque trombone at the Oberlin Baroque Performance Institute Summer Workshop (2014) and the San Francisco Baroque Workshop (2013-present). As a specialist of Baroque music, Pearse is a sought-after chamber musician and performs with specialist ensembles across the Canada and USA. Pearse has recorded for broadcast with Harmonia (NPR), IPR, and WFIU, and recorded with Cappella Artemisia and on the ATMA label with ¡Sacabuche!'s release 17th-Century Italian Motets (Sept 2015) and a forthcoming ATMA release (anticipated January 2020) of Habsburg and Bohemian music of the Seventeenth Century. ¡Sacabuche!'s music is regularly featured on CBC radio, NPR stations across the USA, as well as on Radio New Zealand. 

In addition to traditional music programming, Pearse engages in interdisciplinary projects with her primary collaborator Ann Waltner that weave music, texts, images, and soundscapes. Matteo Ricci: His Map and Music premiered in 2010 has toured to China and across the continental USA. Venetia 1500 is inspired by the Barbari Aerial Woodcut of Venice from 1500, and creates a conversation between new music, early music, texts, and images, that finds resonances with Maritime cultures in decline. How Do We Listen? is an interdisciplinary artistic work that weaves soundscape, music, and text to create a performance which engages with historical and present cultural and religious contact in New Brunswick, all with an eye to the complex identities of Indigenous, specifically Wolastoqiyik and Mi’kmaq, and non-Indigenous peoples who reside in the region that is now known as the Province of New Brunswick. The truths shared and spoken by Pearse's collaborator Angela Acquin about her grandmother’s experiences at the Shubenacadie Indian Residential School lead the narrative and structure the performance. The work employs Indigenous music, seventeenth-century sacred Italian and German music, and newly commissioned compositions by jazz composer, Joel Miller. In addition to the Acquin personal account, a spoken script includes contemporary Indigenous poetry by Rita Joe (Mi’kmaq; 1996) and Mihku Paul (Wolastoqiyik; 2012), historical documents, segments of the Truth and Reconciliation Commission report (2015), and a script by Waltner. The musicians (Indigenous and non-Indigenous) perform soundscapes and whisper clusters that respond to and comment on the texts, and in part, are intended to represent the lost voices of the thousands of Indigenous children who died or succumbed to disease, drug abuse, or alcoholism as a result of their experiences at the Indian Residential Schools. The project continues is supported by Elder and film director Brian Francis (Mi'kmaq), and Elder J. J. Bear (Wolastoqiyik) who has provided language support, directed smudge ceremonies, and shared his personal account of a Residential Day School in New Brunswick.  

Shawn Bostick: Administrative Director

Shawn Bostick is a musician, educator, arts manager, and fundraiser living in Eastern Canada. He holds music degrees from Mount Allison University and St. Francis Xavier University. Shawn established the Atlantic Waves Imprint label during his tenure as Regional Director of the Canadian Music Centre. The label’s second release Between the Shore and the Ships won two East Coast Music Awards including the inaugural Classical Composition of the Year. In 2017 he joined the New Brunswick Youth Orchestra’s Moncton Sistema Centre as a Teaching Artist and also assumed the role of Administrative Assistant in May 2019. Shawn is currently co producing the 16th season of the Sackville Festival of Early Music. Shawn’s work as an arts and event manager has included ¡Sacabuche!, Shaun Leblanc, Dave Thomson, Mike Biggar, Kenny James, Live Bait Theatre, Chris Hadfield, and John Cleese.

Annika Williams: J.E.A. Crake Youth Outreach Intern

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Annika Williams is entering her third year as a voice student at Mount Allison University. She is from Sackville, New Brunswick and has participated in the Sackville Music Festival, New Brunswick Provincial Music Festival, and the 2018 New Brunswick Registered Music Teachers Association Competition where she was awarded second place. Annika is an emerging musicology student and has participated in the 2021 UNB Arts Matters Conference where her paper "Unprecedented Tunes: Expressivity in Musical Responses to Pandemics" was a favourite of one of the judges. This summer she was awarded a Future Ready NB grant to conduct research into the role of music making in some of Westmorland County's most prominent families while continuing her collections and archives work with the Westmorland Historical Society. She is an enthusiastic supporter of women composers from all time periods and the work being done to uncover these often forgotten composers.