A cellist “with a rich imagination and a keen mind” (Diapason), Cameron Crozman is recognized as one of Canada’s rising stars. Named Radio-Canada’s 2019-20 Classical Revelation artist, he performs across North America and Europe, appearing as a soloist with major Canadian orchestras and sharing the stage with imminent musicians such as James Ehnes, Augustin Hadelich, André Laplante, and James Campbell. After studies with Paul Pulford in Canada, Cameron attended the Paris Conservatory in the class of Michel Strauss, where he received his “Prix de Violoncelle” with highest honours. He was also a laureate of Gautier Capuçon’s 2016-17 Classe d’Excellence at the Louis Vuitton Foundation. His debut recording for ATMA Classique, Cavatine, recorded on the ca. 1696 “Bonjour” Stradivarius cello, was released to critical acclaim in 2019. Cameron is extremely grateful to the Canada Council for the Arts and the Sylva Gelber Foundation for their support of his projects. He currently plays the Spanish cello “El Tiburon” attributed to Joannes Guillami ca. 1769 generously on loan from the Canada Council for the Arts Instrument Bank. When he isn’t touring, Cameron makes his home in Montreal, where he loves exploring the city’s many eclectic neighborhoods, even in the freezing cold winter!

FR:
Violoncelliste « d’une riche imagination et d’un esprit vif » (Diapason), Cameron Crozman s’établit comme l’une des étoiles montantes du Canada. Nommé “Révélation Classique” 2019-20 de Radio-
Canada, il se produit régulièrement en Amérique du Nord et en Europe, jouant en soliste avec les grands orchestres canadiens et partageant la scène aux côtés d’éminents musiciens, dont James Ehnes, Augustin Hadelich, André Laplante et James Campbell. Suite à des études avec Paul Pulford au Canada, Cameron se perfectionne au Conservatoire de Paris dans la classe de Michel Strauss, où il obtient son Prix de Violoncelle avec les félicitations du jury. Il est également lauréat de la Classe d’Excellence 2016-17 de Gautier Capuçon à la Fondation Louis
Vuitton. Son premier album pour ATMA Classique, Cavatine, enregistré avec le violoncelle Stradivarius « Bonjour » de ca. 1696, connaît un succès critique et public en 2019. Cameron est très reconnaissant envers le Conseil des Arts du Canada et la fondation Sylva Gelber pour leur soutien à l’égard de ses divers projets. Il joue présentement le violoncelle espagnol “El Tiburon” de ca. 1769, attribué à Joannes Guillami, généreusement prêté par la Banque d’Instrument du Conseil des Arts du Canada. Quand il n’est pas en tournée, Cameron réside à Montréal où il adore découvrir les quartiers éclectiques de la ville, même dans le froid de l’hiver!

www.cameroncrozman.com

In the Refuge of a Cave:
Before there were bunkers, fortresses, or strongholds, there were caves. Since long before the dawn of recorded history, caves have held a universal significance as a source of refuge—a safe haven from the elements, predators, and natural disasters. Inversely, however, caves have widely been known to inspire a sense of apprehension and foreboding as well—potentially harboring in the darkness the very dangers from which they are meant to offer protection.
Writing these program notes in late July of 2020, I can't help but compare the duality of caves to the tremendous changes that have taken place during the last six months. The Pandemic has forced just about everyone to reinvent their lives in order to preserve their safety and security. Whether metaphorically or analogously, we have all retreated to our caves in one way or another. For example, while many of us have achieved refuge through social distancing and sheltering-in-place, doing so has forced us to face the existential darkness of isolation and confinement.
In the Refuge of a Cave (2020) is my perspective on these themes as a composer and musician. What musical artists could once rely upon—concert spaces, audiences, even the ability to perform onstage together—has disappeared or drastically transformed in mere days. Now, one's own insights, abilities, and resources are the only certainties in their musical endeavors. When writing In the Refuge of a Cave, I imagined these restrictions as a literal cave surrounding the musical artist. What could a musician do to create music if they were isolated within a cave? How could one find artistic fulfillment in such a lonely and remote place? The only natural answer is that a musician would need to make do with the sonic resources and tools that the space granted them. The musician would utilize the reverberations and echoes generated by the cave's walls; in doing so, they would stumble upon a way to play music with another—a past version of theirself—an echo.
In the Refuge of a Cave is dedicated to my many friends and colleagues who have found themselves forced to navigate a unique cave of their own in these challenging times. Thus, it is designed to be playable by any instrument or voice type, and no two performances will ever sound alike.