Cascade Peaks ChamberFest creates new bridge from music education to performance

Borealis String Quartet violinist Yuel Yawney and team set innovative programs for strings, piano, and more in tranquil surroundings

By Helen (Yichun) Wu

RockRidge Canyon (left); Yuel Yawney.

The Langley Community Music School presents Cascade Peaks ChamberFest at RockRidge Canyon from June 16 to 23

FOR YUEL YAWNEY, a founding violinist of the Vancouver-based Borealis String Quartet, chamber-music festivals helped in the transformation from emerging young musician to seasoned artist.

Now, as artistic director of the Cascade Peaks ChamberFest, he’s creating a similar environment for the next generation.

Set in the natural beauty of RockRidge Canyon, the academy and festival expands the programming of the Langley Community Music School, where Yawney teaches on the violin faculty. The idea of Cascade Peaks was sparked by a conversation five years ago with the Langley school’s principal emeritus, pianist Susan Magnusson, the event’s founding director.

“The main intention was to create an experience for young artists to connect with people in the industry—those they look up to—and for the faculty to share their insights with these up-and-coming musicians,” Yawney says. Connecting with Stir over Zoom, he is currently teaching amateur musicians in Rome, some of whom will join the Cascade Peaks ChamberFest.

The Princeton, B.C.–based academy and festival runs three programs catering to musicians at various stages of their careers. The Community Artists Program welcomes music lovers and skilled adult amateur musicians. At the core of the festival are the Residency Artists and Emerging Artists Chamber Music programs. The former is designed for established artists seeking a break from their routines, while the latter targets university and pre-university students of strings and piano who are aspiring to a professional career in music.

Last year, one moment that stood out for Yawney was a candid panel discussion between faculty and emerging artists. As seasoned musicians offered insights and shared their experiences, the students’ openness—their questions, doubts, and ambitions—left a lasting impression.

“Being open to different approaches—not digging in your heels about how you think it should be—creates a collaborative experience that really elevates the ensemble.”

“It was a wonderful experience to see how they opened up to us and were able to share their fears, hopes, and desires,” Yawney reflects. It was a powerful reminder that music festivals go far beyond the notes and instruments—they also shape a young artist’s career and sense of self.

The event’s inaugural season was a success. Yawney was especially encouraged by the enthusiastic feedback from last season’s young artists. That enthusiasm is clearly reflected in this year’s participation.

“We’ve more than doubled the enrollment this year, which is fantastic,” says Yawney. He adds that young artists from across North America have already received their repertoire assignments and are expected to arrive prepared for an intense week of rehearsal.

Performance experience is another crucial part of the program. At the end of the week, the student ensembles will present concerts showcasing everything they’ve learned and worked on. In Yawney’s view, such stage experience is indispensable to the success of a young performing artist.

“They need to practise performing,” he says. “And the only way they can do it is by performing.”

Although the focus is on nurturing the musical talents of the next generation, Yawney still keeps the general audience in mind when programming. For those attending the concerts with limited exposure to classical music, he hopes the experience will exceed expectations.

“Quite frankly, there aren’t many opportunities in this part of BC for people to hear internationally renowned artists or music at this level,” he says. “I wish to include some pieces that people will really gravitate toward, and then others that are less well-known.”

The Gryphon Trio. Photo by Bo Huang

The three-time Juno-winning Gryphon Trio is joining the roster this year. At the Eternal Resonances concert on June 21, the trio will open the program with Olivier Messiaen’s Quartet for the End of Time alongside Canada’s pre-eminent clarinetist, James Campbell. For a piece carrying the emotional weight of World War II, Yawney has arranged a pre-concert talk and program notes to provide context.

On a personal level, serving as artistic director has made him look at chamber music from new angles and perspectives. He finds strong parallels between running a festival and playing chamber music, where collaboration, open-mindedness, and problem-solving are essential to the group’s success.

Reflecting on nearly 25 years with the Borealis String Quartet, he advises young musicians to come to rehearsals ready to try everything: “Being open to different approaches—not digging in your heels about how you think it should be—creates a collaborative experience that really elevates the ensemble. It becomes less about each individual, and more about how the ensemble can be unified as a whole.”

The same, he says, applies to his administrative team of four, which he affectionately calls “another string quartet”. Like any good quartet with a tight bond, they’ve learned to listen, adjust, and move forward together—from fundraising to logistics. The harmony lies in collaboration.

“It’s just like in chamber music: I have to be able to work with others. Sometimes we disagree, but then I’ll realize ‘Oh yes, I see what you mean,’” says Yawney. “It’s all for the festival. For the greater good of this project.”

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