Stravinsky and Ravel on the Organ

Regarded as one of the world’s foremost ambassadors of the organ, Olivier Latry has performed on the most prestigious stages worldwide, among others as a guest of major orchestras under renowned conductors. He has recorded with several prominent labels and premiered an impressive number of new works. Appointed titular organist of Notre-Dame de Paris’ Grandes Orgues at age 23 following a competitive examination, he has also been named Organist Emeritus of the Orchestre symphonique de Montréal. Above all, he is an accomplished, thoughtful, and adventurous musician who explores all possible fields of his instrument. Olivier Latry will also serve as Organist-in-Residence of the Dresden Philharmonic in 2025–2026. A professor of organ at the Conservatoire de Paris until June 2024, he currently serves as William T. Kemper Artist-in-Residence at the University of Kansas School of Music in Lawrence, Kansas. 

Originally from South Korea and now living in Paris, Shin-Young Lee completed advanced studies with Tong-Soon Kwak, Jean-Paul Imbert, Michel Bouvard, Olivier Latry, and Jean Guillou. A regular of the world’s most prestigious concert halls and renowned places of worship such as Notre-Dame de Paris, Geneva Cathedral, the University of Pretoria and St. Joseph’s Oratory in Montreal, she is the guest of major organ festivals including those of Chartres, Harlem and Toulouse les Orgues. She performs with orchestras, regularly sits on competition juries and gives masterclasses internationally. Her recordings include Transprovisations on the organ of Munich’s Michaelskirche, and Stravinsky’s The Rite of Spring for organ four hands with Olivier Latry.
Shin-Young Lee is the author of several commissioned and freelance organ transcriptions. Most recently, she transcribed Saint-Saëns’ Carnival of the Animals for the renowned publisher Schott.

In 2010, Isabelle Demers performed a recital for the 2010 International Society of Organbuilders/American Institute of Organbuilders Convention which “left the entire congress in an atmosphere of ‘Demers fever.’’’ This impact continues unabated, close to 15 years later. With her “bracing virtuosity” (Chicago Classical Review) and “fearless and extraordinary” artistic personality (Amarillo-Globe News), she has enraptured critics, presenters, and audience members around the globe with spellbinding performances. Her acclaimed recordings on the Acis and Pro Organo labels have been heralded as “expressive … profound and searching” (RSCM, Church Music Quarterly). Born in Québec and a graduate of The Juilliard School, Dr. Demers is Associate Professor of Organ at the Schulich School of Music of McGill University in Montreal, Quebec. 

Jean-Willy Kunz was appointed in 2013 as the first organist in residence of the Orchestre symphonique de Montréal. In addition to playing both with the Orchestra and in recital, he sees to the development and showcasing of the Grand Orgue Pierre-Béique, Casavant Frères’ opus 3900 installed at the Maison symphonique in Montréal.

His performances with the Orchestre symphonique de Montréal include concerts conducted by Rafael Payare, Kent Nagano, Masaaki Suzuki, Leonardo García Alarcón, Gabriel Thibaudeau, François-Xavier Roth, Vasily Petrenko, Juraj Valčuha, Paul McCreesh, John Storgårds, Dalia Stasevska, Carlo Rizzi, and David Zinman. He has also performed as a soloist with the Quebec Symphony Orchestra, les Violons du Roy, the Trois-Rivières Symphony Orchestra, the Toronto Symphony Orchestra, the Edmonton Symphony Orchestra, the Calgary Philharmonic Orchestra, and the Regina Symphony Orchestra, under the direction of Fabien Gabel, Bernard Labadie, Michael Willens, Alain, Trudel, Stéphane Denève, Gemma New, Kerem Hasan, JoAnn Falletta, and Gordon Gerrard.

At the Maison symphonique, Kunz has premiered numerous pieces for organ and orchestra, and for solo organ, by Tod Machover, John Rea, Samy Moussa, Harry Stafylakis, Matthew Ricketts, Gabriel Thibaudeau, Régis Campo, and Maxime Goulet. A highlight among his many solo performances on the Grand Orgue Pierre-Béique was a recital presented in 2017 in collaboration with the NASA, the Canadian Space Agency, and the European Space Agency, during which a live audio-video duplex with an astronaut aboard the International Space Station allowed for the first ever Earth-Space organ duet.

Jean-Willy Kunz’ interest and versatility in different styles of music are reflected in the various projects he has been involved with for several years, and which shed new light on the pipe organ, including jazz music in duo with Branford Marsalis and with the Ensemble InSpirations, pop music with Rufus and Martha Wainwright, stage music with the Cirque du Soleil, contemporary music with the Quebec Contemporary Music Society and the Quatuor Bozzini, and baroque music with the Ensemble Caprice and Les Boréades.

His discography includes many recordings which reflect the broad range of his musical influences. His most recent CDs include a solo organ album Jean-Willy Kunz au Grand Orgue Pierre-Béique; Impressions with the Ensemble InSpirations (organ, clarinet, saxophone, trombone, double bass, and percussion); Symphonie et créations pour orgue et orchestre with the Orchestre symphonique de Montréal (which was awarded a Juno in 2016); and The Pipes are Calling for organ and trombone; Punkt with Pierre Lapointe; André Gagnon Baroque for harpsichord and symphony orchestra.

Jean-Willy Kunz studied with Louis Robilliard and with Mireille Lagacé, before completing a doctorate in organ performance at McGill University with John Grew. In 2018, he completed an MBA at HEC Montréal. He is organ professor at the Conservatory of Music in Montréal and artistic director of the Canadian International Organ Competition.