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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. -
ATELIER DE JOHN REA, WALTER BOUDREAU ET VINCENT DODIER Salle AB
ATELIER DE JOHN REA, WALTER BOUDREAU ET VINCENT DODIER Salle AB: vendredi de 15h30 à 17h00 Diriger une œuvre contemporaine au secondaire : Danser avec la gravité de John Rea Un atelier incontournable qui offre aux participants un moment de partage d’expertise pratique quant à la direction d’une œuvre contemporaine au secondaire. Rassemblés pour l’occasion : le compositeur John Rea, l’Orchestre à vents Saint-Luc formé de 90 jeunes du secondaire et leur chef, Vincent Dodier, ainsi que le directeur artistique spécialisé en musique contemporaine, Walter Boudreau. Après une présentation de son œuvre Danser avec la gravité (2015) par le compositeur John Rea, les enseignants présents entendront l’œuvre interprétée par les jeunes de Saint-Luc. Suivra ensuite une période d’échange avec Vincent Dodier sur l’apprentissage et l’interprétation de l’œuvre en contexte scolaire et avec le chef Walter Boudreau qui partagera sa vision de la direction d’une œuvre contemporaine. L’atelier se terminera avec une interprétation participative pour les enseignants présents qui pourront jouer des extraits de l’œuvre avec les élèves. Danser avec la gravité est une commande du Centre de musique canadienne dans le cadre de la Série hommage au compositeur John Rea, produite par la Société de musique contemporaine du Québec. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ayant remporté de nombreuses récompenses prestigieuses durant sa carrière et très sollicité par divers organismes, le compositeur John Rea voit ses œuvres jouées au Canada, aux États-Unis et en Europe. Il illustre des genres très variés: musique de chambre instrumentale, théâtre musical, musique électroacoustique, musique de scène, œuvres pour grand ensemble et œuvres vocales. -
Chromfantasy Bandh Ex.Pdf
PERFORMANCE NOTES EDUCATION THROUGH ARTISTRY Chromatic Fantasy and Fugue was Conductor's Choice presents an artistically commissioned Jeunesse by La Northumberland distinguished repertoire of selected choral music Girls' Choir, Marie Anderson and Dierdre Morrell, for high school, college, and community choirs. co-directors. As the title implies, these two Bridging the goals of choral music education with movements are entirely instrumental in character the standards of professional performance, and demand of the singers an exactness in pitch Conductor's Choice features an international and rhythm that is uncompromising. The Fantasy roster of young composers and arrangers dedicated unfolds slowly with the vocal lines often dividing to musical craft and authenticity. into complex four-, five-, or even six-note chords. The Fugue, on the other hand, remains in three In the spirit of the Choral Music Experience parts throughout and is unrelenting in its energetic concept, Conductor's Choice seeks to present a drive towards the ending. well-balanced program of contemporary composition that celebrates musicai diversity and encourages musical enjoyment. From the traditional to the experimental, Conductor's ABOUT THE COMPOSER Choice is a choral music series committed to the dynamic relationships between the composer, conductor, choir Since the fall of 1987, John Burge (b. 1961) and their audiences_ has been teaching in the School of Music at Queen's University, Kingston, Ontario where he currently holds the position of Associate A complete and comprehensive choral per_ Professor. He studied composition at the formance curriculum for beginning choirs can be University of Toronto (B.Mus. and M.Mus.) found in the music rextbook WE WILL SING! published by Boosey & Hawkes (TXB-81). -
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. -
Dismantling the Time: a Theoretical and Practical Basis for Sinusoidal Deconstruction
Dismantling the time: a theoretical and practical basis for sinusoidal deconstruction Ángel Arranz Master Thesis Institute of Sonology Royal Conservatory of The Hague 2008 Music gives soul to the universe, wings to the thought, flying to the imagination, charm to the sadness, bliss and life to everything. (Plato) Aeterna Renovatio 2 Abstract “The basic purpose of this project is to build an auto-conductive non-harmonic musical system with nine instrumental parts and/or a live electronics field. One of the main properties is dispensability: any of the parts may be omitted without damage in the macrostructure. As the absence of some parts as the combinatorial variability of them do not affect the musical efficacy of the composition. Such a system will be possible thanks to the observation of some compositional conductive models of the past (Flemish polyphony) and some more present, as Xenakis’s stochastic music. Fundamentally, this task is made by means of ‘seeds’, minimal elemental shapes, which create the macro and micro levels of the work. In the first level of the composition, the macroform level, the seeds are implemented in a computer-assisted composition environment using the AC Toolbox program, where a graphics-based grammar is set on a discourse that is drawn in a unique stochastic gesture and later deconstructed. In the second level of composition, the microform level, the seed’s data are used as a controller of electronic gestures implemented in the Max/MSP program. The principal purpose of this level will be to enlarge the compositional domain and give an opportunity of extension to the physical possibilities of instruments, driving it towards the micro-sounds and other parallel temporal processes and having their own self-sufficient process inside the work”. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Student Composers Concert
FACULTY of Jv1USIC UNIVERSITY 'iOF TORONTO Thursday, January 31 , 2008 T:30 pm, Walter Hall Student Composers Concert Invocation and Fanfare Sean King Steve Arsenault, Michelle Wylie, trumpets Marina Krickler, horn Stuart Bremner, trombone Ian Feenstra, tuba Elevator Music Fiona Ryan Lynn Kuo, violin Trop Elisha Denburg Tim Crouch, flute Julia Stroud, clarinet Lance McMillan, bassoon Four Poems of Emily Dickinson Lee Parkin Allison Arends, soprano Emma Elkinson, flute Mohsin Bhujwalla, viola Angela Schwartzkoff, harp Samuel Lam, conductor INTERMISSION Calling Loons Avalon Rusk i. Calling Loons Ii. The Arrival iii. Singing With the Loons iv. The Loons Take Flight Lynn Kuo, violin Rhapsody No.2 Constantine Caravassilis Zhenya Yesmanovich, piano Dance of Dragons Kevin Lau Violin 1 - Mark Johnston Violin 2 - Elizabeth Loewen Andrews Violin 3 - Maia Broido Trumpet - Steve Arsenault, Marcel Sekine Trombone - Annemieke Vanderkraay, Stuart Bremner Bass Trombone - Nelson Garces Flute/Piccolo - Sara Moorhouse, Kaili Maimets Piano - Mark Andrews Taiko - Lance McMillan, Michelle Colton Percussion 1 - Greg Samek Percussion 2 - Tricia Mangat Conductor - Brian Current ." Invocation and Fanfare for Brass Quintet is a piece written in 2007 for the When writing music, he draws from a rich palette of sounds, combining Bloor Street Brass. The Invocation is full of space, and overlapping notes that elements of music from a variety of genres and cultures and weaving them come from nowhere and disappear into nothing. The horn comes in with a into something entirely new. Of key interest to Avalon is the combination brilliant and touching melody, which returns later. Parts of the Invocation are of electronic music and acoustic instruments and the incredible level of horn calls and marches and other sounds, the piece is still deciding what versatility and expressive power that it provides. -
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. -
An Annotated Bibliography of Canadian Oboe Concertos
An Annotated Bibliography of Canadian Oboe Concertos Document Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Oboe in the Performance Studies Division of the University of Cincinnati College-Conservatory of Music January 11, 2016 by Elizabeth E. Eccleston M02515809 B.M., Wilfrid Laurier University, 2004 M.M., University of Cincinnati, 2007 D.M.A. Candidacy: April 5, 2012 256 Major Street Toronto, Ontario M5S 2L6 Canada [email protected] ____________________________ Dr. Mark Ostoich, Advisor ____________________________ Dr. Glenn Price, Reader ____________________________ Professor Lee Fiser, Reader Copyright by Elizabeth E. Eccleston 2016 i Abstract: Post-World War II in Canada was a time during which major organizations were born to foster the need for a sense of Canadian cultural identity. The Canada Council for the Arts, the Canadian Broadcasting Corporation and the Canadian Music Centre led the initiative for commissioning, producing, and disseminating this Canadian musical legacy. Yet despite the wealth of repertoire created since then, the contemporary music of Canada is largely unknown both within and outside its borders. This annotated bibliography serves as a concise summary and evaluative resource into the breadth of concertos and solo works written for oboe, oboe d’amore, and English horn, accompanied by an ensemble. The document examines selected pieces of significance from the mid-twentieth century to present day. Entries discuss style and difficulty using the modified rating system developed by oboist Dr. Sarah J. Hamilton. In addition, details of duration, instrumentation, premiere/performance history, including dedications, commissions, program notes, reviews, publisher information and recordings are included wherever possible. -
Lsm11-6 Ayout
sm20-7_EN_p01_coverV2_sm20-1_BI_pXX 15-06-03 12:55 PM Page 1 RCM_LaScenaMusicale_4c_fp_June+Aug15.qxp_Layoutsm20-7_EN_p02_rcmAD_sm20-1_BI_pXX 15-06-03 12:56 1 2015-05-27PM Page 2 9:33 AM Page 1 2015.16 Terence CONCERT Blanchard SEASON More than 85 classical, jazz, pop, world music, and family concerts to choose from! Koerner Hall / Mazzoleni Concert Hall / Conservatory Theatre Igudesman & Joo Daniel Hope Vilde Frang Jan Lisiecki SUBSCRIPTIONS ON SALE 10AM FRIDAY JUNE 12 SINGLE TICKETS ON SALE 10AM FRIDAY JUNE 19 416.408.0208 www.performance.rcmusic.ca 273 BLOOR STREET WEST (BLOOR ST. & AVENUE RD.) TORONTO sm20-7_EN_p03_torontosummerAD_sm20-1_BI_pXX 15-06-03 12:57 PM Page 3 CELEBRATING 10 YEARS JUL 16-AUG 9 DANISH STRING KARITA MATTILA QUARTET GARRICK AMERICAN OHLSSON AVANT-GARDE DANILO YOA ORCHESTRA OF THE AMERICAS PÉREZ WITH INGRID FLITER AND MUCH MORE! UNDER 35 YEARS OLD? TICKETS ONLY $20! TORONTOSUMMERMUSIC.COM 416-408-0208 an Ontario government agency un organisme du gouvernement de l’Ontario sm20-7_EN_p04_TOC_sm20-1_BI_pXX 15-06-03 12:58 PM Page 4 VOL 20-7 JUNE/JULY/AUGUST 2015 CONTENTS 10 INDUSTRY NEWS 11 Orchestre National de Jazz - Montréal 12 Jazz Festival Picks 14 Classical Festival Picks 19 Arts Festival Picks 21 Summer Listening GUIDES 22 Canadian Summer Festivals 37 REGIONAL CALENDAR 38 CONCERT PREVIEWS YOA ORCHESTRA OF THE AMERICAS 6 FOUNDING EDITORS PUBLISHER OFFICE MANAGER TRANSLATORS SUBSCRIPTIONS Wah Keung Chan, Philip Anson Wah Keung Chan Brigitte Objois Michèle Duguay, Véronique Frenette, Surface mail subscriptions (Canada) cost EDITOR-IN-CHIEF SUBSCRIPTIONS & DISTRIBUTION Cecilia Grayson, Eric Legault, $33/ yr (taxes included) to cover postage and La Scena Musicale VOL. -
Amplified Music and Multimodality
Making Things Louder: Amplified Music and Multimodality PhD Thesis Johannes Mulder University of Technology Sydney Faculty of Arts and Social Sciences Supervisor: Professor Theo van Leeuwen Submitted April 2013 Certificate of Authorship/Originality I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Johannes Mulder ii Acknowledgments I am very grateful to Theo van Leeuwen who both inspired and supervised this thesis. In a relatively short time he has shared a vast amount of his own work and insights, forming the ‘roots’ of this work. Bert Bongers’ for his invaluable and continuing friendship, support and our never-ending critical dialogue. Tony Mitchell has kindly and patiently proofread this dissertation, which has been crucial in eliminating the inherent quirks of bilingualism (which in itself sounds like a Dutchism). Some of my best friends are live sound engineers: Paul, Joke, Bart, Jeroen, Carl, Marc, you are all part of this. Two people, Martje van Riel and Xander Lub were instrumental in making me go back to University. I particularly want to thank my friend Arnoud van Deelen (the self appointed chair of my fan club) for his long lasting support morally, and financially.