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Document generated on 09/27/2021 7:30 p.m. Circuit Musiques contemporaines Catalogue des oeuvres commandées par la smcq Solenn Hellégouarch Souvenirs du futur : pour les 50 ans de la smcq Volume 27, Number 2, 2017 URI: https://id.erudit.org/iderudit/1040877ar DOI: https://doi.org/10.7202/1040877ar See table of contents Publisher(s) Circuit, musiques contemporaines ISSN 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this document Hellégouarch, S. (2017). Catalogue des oeuvres commandées par la smcq. Circuit, 27(2), 53–66. https://doi.org/10.7202/1040877ar Tous droits réservés © Circuit, musiques contemporaines, 2017 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Catalogue des œuvres commandées par la smcq Solenn Hellégouarch Ce catalogue présente les œuvres commandées (ou co-commandées) par la Société de musique contemporaine du Québec (smcq) entre 1968 et 2017. Les œuvres sont classées par année de création, puis par date de création1. La 1. Dès lors, seules les œuvres créées présence d’un astérisque indique que la commande a reçu l’aide du Conseil ont été retenues dans le présent catalogue. des arts du Canada (cac). 1968 § *Gilles Tremblay, Souffles (Champs II) (1968), 2 flûtes (et piccolo), hautbois, clari- nette, cor, 2 trompettes en si bémol (et trompettes en do), 2 trombones, piano, 2 per- cussions et contrebasse. -
1Er Février 2015 — 15 H Salle De Concert Bourgie Prixopus.Qc.Ca
e 18 GALA1er février 2015 — 15 h Salle de concert Bourgie prixOpus.qc.ca LE CONSEIL QUÉBÉCOIS DE LA MUSIQUE VOUS SOUHAITE LA BIENVENUE À LA DIX-HUITIÈME ÉDITION DU GALA DES PRIX OPUS 14 h : accueil 15 h : remise des prix 17 h 30 : réception à la Galerie des bronzes, pavillon Michal et Renata Hornstein du Musée des beaux-arts de Montréal Écoutez l’émission spéciale consacrée au dix-huitième gala des prix Opus, animée par Katerine Verebely le lundi 2 février 2015 à 20 h sur les ondes d’ICI Musique (100,7 FM à Montréal) dans le cadre des Soirées classiques. Réalisation : Michèle Patry La Fondation Arte Musica offre ses félicitations à tous les finalistes et aux lauréats des prix Opus de l’an 18. La Fondation est fière de contribuer à l’excellence du milieu musical québécois par la production et la diffusion de concerts et d’activités éducatives, à la croisée des arts. Au nom de toute l’équipe du Musée des beaux-arts de Montréal et de la Fondation Arte Musica, je vous souhaite un excellent gala ! Isolde Lagacé Directrice générale et artistique sallebourgie.ca 514-285-2000 # 4 Soyez les bienvenus à cette 18e édition du gala des prix Opus. Votre fête de la musique. Un événement devenu incontournable au fil des ans ! Le gala des prix Opus est l’occasion annuelle de célébrer l’excellence du travail des interprètes, compositeurs, créateurs, auteurs et diffuseurs. Tout au long de la saison 2013-2014, ces artistes ont mis leur talent, leur créativité et leur ténacité au service de la musique de concert. -
The Nature and Practice of Soundscape Composition Bob Gluck, November 1999
1 The Nature and Practice of Soundscape Composition Bob Gluck, November 1999 Soundscapes first emerged as a musical genre in the 1970s. They represent a unique musical form that grew out of the encounter between electronic music and acoustic ecology. Its driving force has been Canadian composers and sound artists. Soundscapes would not be conceivable outside of the history and context of electronic music. It was within the latter field that musicians and thinkers extended the boundaries of what constitutes musical sound, as Joel Chadabe (1997) terms it "the great opening up of music to all sounds." Soundscapes also reflect a particular historical moment. Its materials, forms and the relationship between the two (Adorno, 1996) offer a musical commentary on issues arising in the late 20th century western world. Acoustic ecology and soundscapes, a brief introduction The figure most identified as founding the acoustic ecology movement, from which soundscapes sprung forth, is R. Murray Schaefer. Schaefer wrote (1977, 1994): "I call the acoustic environment the soundscape, by which I mean the total field of sounds wherever we are. It is a word derived from landscape, though, unlike it, not strictly limited to the outdoors." Schaefer founded what has become known as the World Soundscape Project (WSP), which has been described by fellow founding member Barry Truax (1995), as: "to document and archive soundscapes, to describe and analyze them, and to promote increased public awareness through listening and critical thinking" and "to re-design -
An Evening of New Canadian and American Music
Music At Bennington Presents: An Evening of New Canadian and American Music with guest artists Sylvia Shadick-Taylor & Karen J. Minish Friday, March 7, 1997 at 8 p.m. Deane Carriage Barn "This concert is made possible in part through the generous support of Judith Rosenberg Hoffberger '54 and the Henry and Bennington College Ruth Blaustein Rosenberg Foundation." About the Artists: Toronto Women's Chorus, the Claude Watson School of the Arts Orchestra, the Edmonton Symphony, and the Toronto Symphony. Competition awards have included SYLVIA SIIADICK-TAYLOR - Pianist first place prizes in th e Canadian Contempora1y Music Workshop, and Arraynrnsic's Canadian pianist, Sylvia Shadick-Taylor holds a Il.Mus. cum laude Young Composers' Competition. Hi s compositions have been recorded by CBC with from the University of Alberta, where she studied with Alexandra Munn, as future broadcasts to include the Three Spanish Songs. Two Etudes For Organ had its well as Licentiate and Associate Diplomas. Her studies have taken her from European debut in Warsaw. IJpcoming performances will feature the CBC commissioned her early years with Sheila Shinkewski in Saskatchewan, to Ilanff, Aspen, work The Painter Suite for Edmonton's Hammerhead Consort, and an orchestral work New York and Salzburg. Other teachers who have contributed ~o Sylvia's entitled 011ve1·h1re Sauvage, commissioned by the Edmonton Symphony through the musicianship have been Thomas Muraco, Menahem Pressler, Ed 1th Oppens, and Gyorgy Sebok. Now based in Edmonton, she has worked for Edmonton Alberta Arts Foundation. Opera, the Edmonton Symphony Orchestra, Pro Coro Canada, Alberta College, and the CosmoPohtan Music Society. -
Ars Electronica Selection 2015 (Call for Acousmatic Works) 22 & 23 May
Ars Electronica Selection 2015 (Call for acousmatic works) Marc Ainger - Shatter Alfredo Ardia – Uno Marie-Hélène Breault and Martin Bédard - Replica Alfredo Ardia – Due Marc Ainger is a sound artist and composer whose work has Marie-Hélène Breault been performed throughout the world, including the Alfredo Ardia Very active in the interpretation of contemporary music, flutist American Film Institute, the KlangArts festival, Gageego New Class 1989, I studied at LEMS (Pesaro, IT) and at CMT Marie-Hélène Breault occurred with the Contemporary Music Music Ensemble, Guangdong Modern Dance, the (Helsinki, FI). My work is focused on sound and its relation Society of Quebec (SMCQ), the Ensemble contemporain de Royal Danish Ballet, Streb, the New Circus, and Late Night and interaction with other elements in the audio-video, Montreal (ECM) and in the many events of Innovations en with David Letterman. Awards include the Boulez/LA performance and sound art fields, aimed to a language concert, codes d’accès and Jeunesses musicales du Canada. Philharmonic Composition Fellowship, the Irino International encoding. I am interested in equilibrium, synchronism and its She has given concerts abroad and has participated in several Chamber Music Competition, Musica Nova, Meet the perception, and inspired by the beauty of the physics of creations of Canadian and international composers. Since Composer, the Esperia Foundation, and the Ohio Arts Council. waves. September 2008 she is the artistic director of Error Type 27 As a sound designer he has worked with the Los (E27), an organization dedicated to contemporary art in the Angeles Philharmonic, the Olympic Arts Festival, Pacific Coast Processi region of Quebec (Canada). -
Perusal Score
P e r u s a l October‘ poem for dayes end for alto flute Donald Steven ISMN: 979-0-706080-74-1 CP094 Program Note by the Composer October is the first work in the central part of the triptych Floating Verses1, a set of pieces written for four woodwind players (alto flute, clarinet, bassoon and shakuhatchi), harp, percussion, viola, cello, piano, and recorded material. Traditional music comes to us through the generations primarily via the oral tradition. While some of this music undoubtedly remains remarkably true to its origins, due to its important cultural role and the rigor of the transmission process from one generation to the next, much traditional music has mutated countless times. A significant aspect of this repetitive/regenerative process, particularly in improvised blues, is the adoption or transmigration of lyrics from one song to another, a process sometimes referred to as floating verses, floating lyrics, or maverick stanzas. In this triptych, a similar process unfolds, as specific moments, mostly of limited scope, reappear from one piece to another, in different contexts though not in dissimilar spirit. The seed for this reflective unfolding is the use, in the opening and closing of October, of the Epitaph of Seikilos, which is generally acknowledged as the oldest surviving complete musical composition. The inscription on the epitaph is taken from Plato’s Meno, quoting Socrates and inviting us to wonder about the possibility that the soul may be reborn and to take from that sense how we ought to strive to live our time on earth ‘in perfect holiness.’ October is written for alto flute, though I can see no reason beyond practical considerations, why it could not be beautifully realized on other instruments — including traditional instruments — that have the range and ability to speak to the intimacy of the work. -
Aperçu Du Genre Électroacoustique Au Québec Overview of Electroacoustic Music in Quebec François Guérin
Document generated on 09/29/2021 2:39 a.m. Circuit Musiques contemporaines Aperçu du genre électroacoustique au Québec Overview of electroacoustic music in Quebec François Guérin Électroacoustique-Québec : l’essor Article abstract Volume 4, Number 1-2, 1993 This issue opens with a detailed picture of the development of electroacoustic composition in Quebec during the last twenty years, dealing with the various URI: https://id.erudit.org/iderudit/902061ar genres (acousmatics, mixed media, live electronics, computer-related, DOI: https://doi.org/10.7202/902061ar multimedia, environmental music}, institutions and musical organizations, and its relationships with the other arts. See table of contents Publisher(s) Les Presses de l'Université de Montréal ISSN 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Guérin, F. (1993). Aperçu du genre électroacoustique au Québec. Circuit, 4(1-2), 9–32. https://doi.org/10.7202/902061ar Tous droits réservés © Les Presses de l’Université de Montréal, 1993 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 9 Aperçu du genre électroacoustique au Québec François Guérin Des appareils pour le moins médiocres, un aimable laisser-aller ont fait du studio de musique concrète un bric-à-brac sonore. -
Dossier Ensemble Paramirabo
Mot du directeur artistique Le mandat artistique de l’organisme Ensemble Paramirabo est de se présenter comme une voix pour la diffusion de la musique d’aujourd’hui et pour la promotion des compositeurs émergents. Ses membres travaillent de façon à faciliter l’accessibilité et la compréhension de la musique contemporaine auprès de tous les publics et de tous les milieux et se consacrent à la redynamisation du concert grâce à une programmation inédite. L’organisme ne se limite pas à un répertoire strict. Il touche autant à des œuvres de répertoire qu’à la musique actuelle qu’elle soit écrite, improvisée ou électroacoustique. Il fait appel à des musiciens et des artistes de la relève montréalaise afin de concrétiser ses projets et de combler les postes dus aux exigences instrumentales des œuvres présentées. La programmation reflète ce désir d’élargir les horizons et les expériences des auditeurs de nos concerts en favorisant la nouveauté, l’expérimentation et le risque. Nous avons un penchant pour les programmes qui tournent autour d’un thème ou qui offrent plusieurs points de vue divergents sur un même concept. Nous aimons également présenter des projets en collaborations avec des artistes issus d’autres domaines d’art qui amènent de nouvelles explorations et découvertes, citons en exemple les programmes cabarets ou théâtrales tel que nos productions THE CRAZIES! ou À chaque ventre son monstre (gagnant du Prix Opus - Création de l’année 2018). Dans les dernières années, nous avons fait un effort majeur pour créer des projets artistiques qui agissent comme un pont culturel avec des milieux différents. -
Download the TSO Commissions History
Commissions Première Composer Title They do not shimmer like the dry grasses on the hills, or January 16, 2019 Emilie LeBel the leaves on the trees March 10, 2018 Gary Kulesha Double Concerto January 25, 2018 John Estacio Trumpet Concerto [co-commission] In Excelsis Gloria (After the Huron Carol): Sesquie for December 12, 2017 John McPherson Canada’s 150th [co-commmission] The Talk of the Town: Sesquie for Canada’s 150th December 6, 2017 Andrew Ager [co-commission] December 5, 2017 Laura Pettigrew Dòchas: Sesquie for Canada’s 150th [co-commission] November 25, 2017 Abigail Richardson-Schulte Sesquie for Canada’s 150th (interim title) [co-commission] Just Keep Paddling: Sesquie for Canada’s 150th November 23, 2017 Tobin Stokes [co-commission] November 11, 2017 Jordan Pal Sesquie for Canada’s 150th (interim title) [co-commission] November 9, 2017 Julien Bilodeau Sesquie for Canada’s 150th (interim title) [co-commission] November 3, 2017 Daniel Janke Small Song: Sesquie for Canada’s 150th [co-commission] October 21, 2017 Nicolas Gilbert UP!: Sesquie for Canada’s 150th [co-commission] Howard Shore/text by October 19, 2017 New Work for Mezzo-soprano and Orchestra Elizabeth Cottnoir October 19, 2017 John Abram Start: Sesquie for Canada’s 150th [co-commission] October 7, 2017 Eliot Britton Adizokan October 7, 2017 Carmen Braden Blood Echo: Sesquie for Canada’s 150th [co-commission] October 3, 2017 Darren Fung Toboggan!: Sesquie for Canada’s 150th [co-commission] Buzzer Beater: Sesquie for Canada’s 150th September 28, 2017 Jared Miller [co-commission] -
Jules Léger Prize | Prix Jules-Léger
Jules Léger Prize | Prix Jules-Léger Year/Année Laureates/Lauréats 2020 Kelly-Marie Murphy (Ottawa, ON) Coffee Will be Served in the Living Room (2018) 2019 Alec Hall (New York, NY) Vertigo (2018) 2018 Brian Current (Toronto, ON) Shout, Sisyphus, Flock 2017 Gabriel Turgeon-Dharmoo (Montréal, QC) Wanmansho 2016 Cassandra Miller (Victoria, BC) About Bach 2015 2015 Pierre Tremblay (Huddersfield, UK) Les pâleurs de la lune (2013-14) 2014 Thierry Tidrow (Ottawa, ON) Au fond du Cloître humide 2013 Nicole Lizée (Lachine, QC) White Label Experiment 2012 Zosha Di Castri (New York, NY) Cortège 2011 Cassandra Miller (Montréal, QC) Bel Canto 2010 Justin Christensen (Langley, BC) The Failures of Marsyas 2009 Jimmie LeBlanc (Brossard, QC) L’Espace intérieur du monde 2008 Analia Llugdar (Montréal, QC) Que sommes-nous 2007 Chris Paul Harman (Montréal, QC) Postludio a rovescio 2006 James Rolfe (Toronto, ON) raW 2005 Linda Catlin Smith (Toronto, ON) Garland 2004 Patrick Saint-Denis (Charlebourg, QC) Les dits de Victoire 2003 Éric Morin (Québec, QC) D’un château l’autre 2002 Yannick Plamondon, (Québec, QC) Autoportrait sur Times Square 2001 Chris Paul Harman (Toronto, ON) Amerika Canada Council for the Arts | Conseil des arts du Canada 1-800-263-5588 | canadacouncil.ca | conseildesarts.ca 2000 André Ristic (Montréal, QC) Catalogue 1 (bombes occidentales) 1999 Alexina Louie (Toronto, ON) Nightfall 1998 Michael Oesterle (Montréal, QC) Reprise 1997 Omar Daniel (Toronto, ON) Zwei Lieder nach Rilke 1996 Christos Hatzis (Toronto, ON) Erotikos Logos 1995 John Burke (Toronto, ON) String Quartet 1994 Peter Paul Koprowski (London, ON) Woodwind Quintet 1993 Bruce Mather (Montréal, QC) YQUEM 1992 John Rea (Outremont, QC) Objets perdus 1991 Donald Steven (Montréal, QC) In the Land of Pure Delight 1989 Peter Paul Koprowski (London, ON) Sonnet for Laura 1988 Michael Colgrass (Toronto, ON) Strangers: Irreconcilable Variations for Clarinet, Viola and Piano 1987 Denys Bouliane (Montréal, QC) À propos.. -
La Scena Musicale Numéro De Juillet-Août 2004
lsm9-X pages couleurs2 2004-06-25 16:29 Page 1 Juillet-Août 2004 July-August Vol. 9.10 GRATUIT FREE GRATUIT Sergeï Salov Premier prix au CMIM Société canadienne des postes – Envois de publication convention nº 40025257 de publication convention Société canadienne des postes – Envois No.Agreement Publications Mail Sales Canada Post 40025257 First Prize at MIMC lsm9-X pages couleurs2 2004-06-25 16:29 Page 2 LES PIANOS NUMÉRIQUES DIGITAL PIANOS Plus d’un siècle d’expérience musicale. With over a century of musical experience. Le meilleur siège Your front row, center seat is vous attend! waiting for you! Les pianos de concert Yamaha jouent sur plusieurs des plus Yamaha Concert Grand Pianos play on many of the world’s greatest prestigieuses scènes du monde. La haute performance des Pianos concert stages. From the tradition of over 100 years in making fine Numériques Yamaha Clavinova est issue de 100 ans de tradition pianos, comes the expected high performance of the Yamaha de fabrication de pianos remarquables. Après tout, Yamaha fabrique Clavinova Digital Pianos. After all, Yamaha makes the “King of le « roi des instruments » et son héritage, le son, le savoir-faire Instruments” and its heritage, sound, craftsmanship and performance et la performance, sont partie intégrante de Clavinova. is incorporated in the Clavinova. Depuis le début, que ce soit en fabriquant la plupart des instruments From the beginning, makers of the most musical instruments, to de musique, en enseignant au monde à jouer de la musique à travers teaching the world to -
Version Imprimée / Printed ) W [ H 51 Jazz + ISSN 1206-9973 Version Internet ^ Z J I
sm13-5_Cover_NoUPC.qxd 1/30/08 10:17 AM Page 1 www.scena.org sm13-5_pxx_layoutwkc-Ads.qxd 1/27/08 7:16 PM Page 2 sm13-5_pxx_layoutwkc-Ads_2.qxd 1/30/08 10:14 AM Page 3 sm13-5_pxx_layoutwkc-Ads.qxd 1/29/08 11:39 PM Page 4 2008 www.music.mcgill.ca/musimars Lundi 3 mars au vendredi 7 mars 2008 Monday, March 3 to Friday, March 7, 2008 Ensembles Cappella Antica, Valerie Kinslow, directrice Cappella McGill, Peter Schubert, directeur Chanteurs d’Orphée, Peter Schubert, directeur Corno di Caccia Ensemble, Denys Derome, répétiteur McGill CME (Contemporary Music Ensemble), Denys Bouliane, directeur McGill DCS (Digital Composition Studio), Sean Ferguson, directeur McGill Percussion Ensemble, Aiyun Huang, Fabrice Marandola, directeurs McGill Wind Symphony, Alain Cazes, directeur Schulich String Quartet, André Roy, répétiteur Ucello, Matt Haimovitz, répétiteur Collaboration spéciale Société de musique contemporaine du Québec, Walter Boudreau, directeur artistique Solistes Mira Benjamin, violon Rogers Covey-Crumb, ténor (Hilliard Ensemble, Londres) Denys Derome, cor (Orchestre symphonique de Montréal) Dom Richard Gagné, chantre (directeur du Chœur de l’Abbaye de St-Benoît du Lac Memory of et ancien directeur du Chœur de l'Abbaye de Solesmes) Matt Haimovitz, Chloé Dominguez, violoncelles Ages Quenched: Kyoko Hashimoto, Sara Laimon, Julia den Boer, pianos (The Book of Days) Aiyun Huang, Fabrice Marandola, percussion Hank Knox, clavecin Shawn Mativetsky, tabla - Julie Lebel, harmonium Ingrid Schmithüsen, Iris Luypaers, sopranos La Mémoire Erika Donald,