about
|
Hailing from Toronto, Canada, TIM BEATTIE (b. 1997) is active as a performer, educator, collaborator, and recording artist. Bringing his genre-defying programming to stages around the world, he engages audiences with sounds that are at once familiar and foreign, intimate and electrifying, accessible and challenging.
Beattie’s recent activities include performances at Perth Concert Hall, Lammermuir Festival, UN Climate Conference 2021, St. Giles Cathedral, and the Royal Overseas League (London); collaborative projects with actor Tucker St Ivany, filmmaker Rosslyn McCormick, Quartet Malamatina, North American Guitar Trio, Sean Shibe, Sasha Savaloni, and George Tarleton; recordings on period instruments from the collection at St. Cecilia’s Museum (Edinburgh); premieres of new works by Finn McLean and Gerald Garcia; and teaching at the Royal Conservatoire of Scotland and University of St. Andrews. Tim's formal studies began at the Royal Conservatory of Music in Toronto, where he was the first guitarist ever invited to join the Taylor Academy for Young Artists. In 2019, he graduated from the Conservatorium van Amsterdam with the distinction 'Cum Laude', supported by the Amsterdam University of the Arts AHK Talent Grant. He recently completed an Artist Diploma at the Royal Conservatoire of Scotland, where he graduated in 2021 with a Master’s in Music Performance, supported by the Sylva Gelber Foundation, Tillett Trust, ROSL Study Award, and RCS Trust. |
"Classical guitar at its very best. Played by a most subtle and able artist … virtuoso passages projected with great variety of tone and attack … well brought out in Beattie’s intimate beautiful way.” |
|
awards
|
|
artistic vision
|
Combining a deep respect for bygone traditions with a distinctive approach to programming, interpretation, collaboration, and presentation, Beattie aims to:
Engage audiences with sounds that are at once familiar and foreign, accessible and challenging, intimate and electrifying; Blur the lines between musical idiom, genre classification, and artistic discipline; Bridge perceived gaps between culture, creed, class, tribe, and tradition; Reject conventional notions of classical exceptionalism; Expand the repertoire, social contexts, and mediums through which concert music can be presented; Build a new audience for art music by sharing his passion and creative voice on an instrument that nearly everyone has direct reference to or experience with – either as listeners or practitioners – whether or not they’ve yet discovered their love for classical music. |