Marina Hasselberg

Marina is a cellist and the artistic director for the NOVO Ensemble.  Hailing from Portugal, Marina came to Canada in 2008 to pursue a Masters in Literature and Performance at the University of Western Ontario.  She has played in many ensembles, including Tafelmusik Baroque Summer Institute Ensemble, Victoria Baroque Players, Vancouver Pro Musica, Sound of Dragon Ensemble, Turning Point Ensemble, her own group NOVO Ensemble, and many more. She specializes in baroque music but also premieres and performs work by contemporary composers, including John Oliver, Dorthy Chang, and Rodney Sharman, to name few.



Track 1:

“Berceuse” from The Sun and the Moon

Composed by Jim Hiscott (Canadian)

NOVO Ensemble


Track 2:

“Rambler Rose”

Composed by Michael Oesterle

Performed by Marina Hasselberg


Track 3:

“Andante” from Sonata in E Minor BWV 1034 for Flute and Continuo

Composed by J.S. Bach

Performed by NOVO Ensemble


Track 4:


Performed by Marina and John Oliver at the Gold Saucer


Track 5:


Performed by Alanna Ho & Marina Hasselberg

@ the Tidal~Signal festival of experimental music and sound


Track 6:

“Canciones y Danzas”

Composed by Vivian Fine

NOVO Ensemble with guest Adrian Verdejo



Three… Two… One…

The Casse-Tête festival approacheth!  Don’t actually casse your tête.  We spoke to Stanley Zappa about dropping a piano, and why you too need to make your own experimental music festival!  Stanley has some serious vision, and so do the many strange and wonderful musicians about to converge on Prince George for a veritable explosion of sound – splinters and all.

In the Thicket

Rebecca Bruton is a composer, violinist and singer-songwriter hailing originally from Calgary, Alberta.  She lived for several years in Toronto, during which time she sang with the Element choir and studied music at York University.  Rebecca’s art practice often involves reinterpreting folk songs, and her arrangements incorporate modernist sounds as well.

No Iff in Impetus

We know James O’Callaghan‘s music very well.  It often blends electronics and acoustic instruments in one of the most literal ways possible – by diffusing electronic sounds through the bodies of pianos, guitars, violins…  James and his collaborators make birds fly out of books, and we’ve heard James project his own recorded voice through a foam cup held in his mouth.  Unified, witty and sometimes sonically spectacular, this music suggests not only a different way of speaking to the world, but also a different way of hearing it.

Nothing Moves More

Beavan Flanagan‘s string quartet is beautiful.  His sonifications of NASA space data are so unapproachable they are actually hazardous to listen to for protracted periods.  In person, he speaks very softly.  Sometimes, in making art, we feel pulled in a direction, and sometimes, we throw ourselves to a new place – few composers can create instrumental textures as refined as Beavan’s, but our guest on April 7th is not one to rehash old formulas.

This Giant, Robotic Voice

He loves videogames, he has an amazing amount of energy, and the piece he’s most proud of so far is called Metatron.  You can hear him talk about it all here!

Eliot Britton’s music is punchy, overtly dynamic and laden with references to technology from past decades.  Eliot recently returned to his native Winnipeg after living the better part of a decade in Montreal, where he completed his Ph.D in music composition last year.  He is very active as a concert and event organizer as well as a musician, and co-produces Winnipeg’s spectacular Cluster festival together with the festival’s co-founders, Heidi Ouellette and Luke Nickel.  He also runs a radio show of his own, called Groundswell Radio.  You can listen to it on CKUW 95.9 Mondays from 2-3PM central time.