Catherine Motuz

Originally from Ottawa, Canada, Catherine Motuz is presently doing a Ph.D. in Musicology, for which she has received generous funding from the Social Sciences and Humanities Research Council of Canada (SSHRC). Catherine lived in Basel, Switzerland, from 2004 to 2011 to study historical trombone with Charles Toet at the Schola Cantorum. She holds degrees in trombone, composition and early music performance from McGill University (B.Mus. 2002, M.Mus. 2004). As a historical trombonist, Catherine has performed and recorded with ensembles such as the Amsterdam Baroque Orchestra, Bach Collegium Japan, Concerto Palatino, Cantus Cölln, Le Studio de Musique Ancienne de Montreal, and at the Ottawa Chamber Music, Montreal Baroque, and Vancouver Early Music Festivals. In recent years, she has returned to Europe to play at the Vienna and Bavaria state operas. She is the founder and co-director of Canadian ensemble La Rose des Vents, which has collaborated with Les Voix Baroques, VivaVoce, the Ottawa Bach choir and others. She recently released a CD of Viennese arias with trombone obbligato with RAMÉE, as well as a recording of Renaissance music for winds with Ensemble I Fedeli, winners of the 2009 Antwerp International Young Artists Presentation. An avid singer, she made her successful oratorio debut as a mezzo-soprano in Schmelzer’s Memorie Dolorose in Muri, Switzerland in 2008, and has continued to perform as a vocal soloist with Mediva, I Fedeli and others. In the summer of 2010, she sang and played Renaissance trombone and trumpet in two productions at Shakespeare’s Globe theatre in London, England. Catherine’s ultimate goal is to enjoy parallel and mutually-informing careers in both research and music making. In May of 2014 she co-taught a workshop on improvised counterpoint that took a performative approach to Renaissance theory and pedagogy, and performed her own improvisation in concert. In July, she presented a lecture recital at the MedRen conference in Birmingham, exploring the foundations of rhetoric in late sixtenth-century ornamentation. Her primary research interests are focused on performance issues in the 16th century, in particular, she will study how performers saw themselves before the baroque obsession with passions took hold of Europe, investigating the meaning and goal of expression over the course of the Renaissance.