Dominique Beauséjour-Ostiguy is a cellist, composer and multi-instrumentalist who combines passion and creativity in a many-layered career on the Quebec artistic scene. In June his performance of Dvořák’s Cello Concerto, with accompanist Michel-Alexandre Broekaert, won him the Prix d’Europe. Following a Bachelor’s at the Conservatoire de musique de Montréal under Carole Sirois, the native of Laval has just completed a Master’s at Université de Montréal under Yégor Dyachkov.
“I’d like to go and do further training in Europe next year, keeping one foot in Quebec, where I am part of various ensembles,” he says. As a performer, he’d like to divide his energies equally between solo and chamber work. He plays with the Trio de l’île and the Quatuor Andara, who have a date on Oct. 14 at the Chapelle historique du Bon-Pasteur.
The refined delivery heard Europe attracts him. Beauséjour-Ostiguy admires such artists as Jean-Guihen Queyras. “His bow technique is unique,” he says. “It’s as if he sculpts the sound, as if he’s painting it with a brush.”
This visual language is relevant. Beauséjour-Ostiguy favours the post-romantic and modern eras, a time when colours exploded throughout the arts, including music. Harmony is a fundamental aspect of his mind as both musician and composer. He draws on manifold influences, from minimalism to the choral music of Eric Whitacre and the experiments in rhythm of progressive rock.
This delectable cocktail has produced many notable projects, including a collaboration with Alain Trudel and the Orchestre symphonique de Laval, a Sonata for Piano and Cello and a String Quartet that the Andara often play. He also partners with the author, composer and singer Marie-Pier Allard as part of the BOA project, a musical duo playing original progressive instrumental music. He plays piano with them, proving himself an accomplished pianist and versatile musician.
Beauséjour-Ostiguy recently began playing a 1704 David Tecchler cello with a Pierre Simon bow, both loaned by Canimex. He appreciates the granular and direct sound of this new instrument. It will come into its own on Oct. 13 when he plays Dvořák’s Cello Concerto with the Orchestre de l’Université de Montréal conducted by Jean-François Rivest, and again in January in the Cello Concerto No. 1 of Shostakovich with the Volte Ensemble conducted by Thomas Le Duc-Moreau. The year promises to be rich in lyricism and creativity.