Angèle Dubeau & La Pietà

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Angèle Dubeau & La Pietà ANGÈLE DUBEAU & LA PIETÀ SILENCE ON JOUE PRISE 2 / TAKE 2 D’aussi loin que je me souvienne, la musique a fait partie de ma vie. Avec elle, je me suis exprimée, j’ai voyagé ; je m’en nourris quotidiennement. 2017 souligne mes 40 ans de carrière et les 20 ans de La Pietà que j’ai fondé. De plus, j’atteins le chiff re 40 avec ce nouvel enregistrement. Avec tous ces chiff res bien ronds et festifs, après tant d’années de rendez -vous musicaux avec vous, je vous devais bien cet opus. J’ai alors pensé tout simplement répondre à vos multiples demandes que je reçois régulièrement : soit de refaire un album de musique de fi lms tout en bonifi ant l’expérience en vous off rant un album double. Le choix était grand et je me suis laissée interpeller par des musiques fortes et belles qui demeurent évocatrices, même une fois sorties de leur cadre d’origine. Certaines de ces mélodies sont plutôt sucrées et d’autres salées, couvrant ainsi toute la gamme des émotions. Ayant fait personnellement la recherche de ce répertoire, en choisissant une grande variété d’extraits de musique de fi lms, j’avais en tête de revisiter leur version d’origine en y amenant une autre dimension sonore avec mon violon et ces merveilleuses musiciennes que je dirige et qui m’entourent. J’ai aussi travaillé étroitement avec diff érents compositeurs et arrangeurs que je remercie et félicite. Merci également à toute l’équipe d’Analekta pour la confi ance au fi l des ans, le soutien et le savoir-faire digne des plus grands. Ma raison d’être en tant que musicienne est mon public et c’est pour vous que j’ai réalisé ce 40e, oups, double j’ai dit, 41e album. Bonne écoute et merci d’être là ! 2 For as long as I can remember, music has been part of my life. Th rough music, I have expressed myself and travelled the world; it nourishes me every day. 2017 marks both the 40th year of my musical career and the 20th anniversary of La Pietà. Th is recording is also my 40th. With so many round and festive numbers, and after so many musical encounters with you, I owed this recording to you. I therefore thought I would listen to the many requests I get to record another album of fi lm music – and in fact go one better and do a double album. Th ere is so much incredible material to choose from, but I found myself drawn to music that is at once beautiful, powerful, and evocative, even when removed from its original context. Some of these melodies are rather sweet; others are more salty. Together, they cover an entire range of emotions. I personally researched this repertoire and selected a variety of fi lm score excerpts with the notion of taking a fresh look at the original versions and adding a new dimension with my violin and the wonderful musicians of La Pietà. I also worked closely with arrangers and composers of this new recording. Th ey have my gratitude and admiration. I also wish to thank the team at Analekta for their trust over the years, their support, and their world-class expertise. But my raison d’être as a musician is my audience, and it is to you that I dedicate this 40th – though I guess since it’s a double, 41st – album. Th ank you for listening all these years! 3 ANGÈLE DUBEAU, O.C., C.Q., DFA Violoniste virtuose, Angèle Dubeau mène depuis hebdomadaires à caractère musical dont la très 40 ans une carrière exceptionnelle qui l’a conduite populaire Faites vos gammes à Radio-Canada. sur les grandes scènes du monde dans plus d’une Depuis 1995, elle dirige et anime également quarantaine de pays. Si, au fi l des ans, son talent, La Fête de la Musique de Tremblant, un festival sa virtuosité et sa musicalité ont été récompensés de musique au Mont-Tremblant qui attire annuel- par de nombreux prix, c’est d’abord et avant tout lement plus de 35 000 mélomanes. le public qui l’a adoptée pour son jeu envoûtant, Aucun doute ne subsiste. Qu’elle soit seule, face sa générosité, sa fougue, ses dons de communi- à un orchestre, dans l’intimité du répertoire de catrice hors pair et sa facilité exceptionnelle à chambre, avec La Pietà, Angèle Dubeau continue tisser des liens avec lui. La violoniste est d’ailleurs d’émouvoir, d’éblouir, d’étonner et ne souhaite l’une des rares musiciennes classiques au monde qu’une seule chose : recommencer. à avoir reçu des Disques d’or. En carrière, elle a vendu plus de 600 000 albums. De plus, pour Pour ses qualités artistiques et sa contribution l’ensemble de son oeuvre, la violoniste a récolté exceptionnelle au pays : plus de 30 millions de streams répartis dans plus • Membre de l’Ordre du Canada - 1996 de 100 pays. • Lauréate du prix Calixa-Lavallée de la Société Le parcours musical d’Angèle Dubeau reste Saint-Jean-Baptiste de Montréal - 1996 exceptionnel. À 15 ans, elle obtient un Premier • Médaillée du jubilé d’or Prix en violon et à 16 ans un Premier Prix en de la reine Elizabeth II - 2002 musique de chambre au Conservatoire de musique • Chevalière de l’Ordre national de Montréal (Maîtrise en musique). Elle pour- du Québec - 2004 suit ensuite ses études à la Juilliard School of Music de New York avec Dorothy DeLay, puis • Médaillée du jubilé de diamant de 1981 à 1984, perfectionne son art auprès de de la reine Elizabeth II - 2012 Stefan Gheorghiu, en Roumanie. De nombreux • Offi cière de l’Ordre du Canada - 2012 prix nationaux et internationaux récompensent • Récipiendaire d’un doctorat honoris causa son talent. Angèle Dubeau reste convaincue de de la Faculté des beaux-arts, la nécessité de mieux faire connaître la musique Université Concordia à Montréal - 2015 classique à un large public ; cette véritable pion- Le violon d’Angèle Dubeau, le « Des Rosiers », a été nière choisit alors de s’engager dans la conception fabriqué en 1733 par Stradivarius. et l’animation de grands concerts et d’émissions 5 ANGÈLE DUBEAU, O.C., C.Q., DFA One of the most prominent violin virtuosos of her Radio-Canada show Faites vos gammes. Since generation, Angèle Dubeau has been leading an 1995, she is the artistic director of the popular Fête exceptional career for 40 years in the great concert de la Musique de Tremblant, a music festival in halls of the world. While her virtuosity and musi- Mont-Tremblant (Qc) Canada, which attracts over cality have seduced critics, the public has adopted 35,000 music lovers annually. Dubeau for her uncommon gifts as a communicator Whether standing alone, in front of an orchestra, and her outstanding ability to connect with. She or in the intimacy of chamber repertoire with has garnered many awards over the years, and she La Pietà, Angèle Dubeau continues to move is one of the rare classical violinists in the world to and astonish us, while wanting only one thing: to have been awarded gold records. Her album sales start again. have surpassed 600,000 albums during her career. The works from the violinist’s discography have For her talent and her exceptional contribution now been streamed more than 30 million times to the country: across more than 100 countries. • Member of the Order of Canada – 1996 Angèle Dubeau’s musical trajectory remains • Calixa-Lavallée prize from the Société unequalled. At the Conservatoire de Musique de Saint-Jean-Baptiste de Montréal - 1996 Montréal, she obtained a Premier Prix in violin at • Queen Elizabeth II Golden age 15 and a Premier Prix in Chamber Music at Jubilee Medal - 2002 age 16 (Master’s Degree in Music). Feeling ready • Knight of the Ordre national to spread her wings even further, she moved to du Québec – 2004 New York to work with Dorothy DeLay at the pres- tigious Juilliard School of Music, then, from 1981 • Queen Elizabeth II Diamond to 1984 she studied in Romania with the emi- Jubilee Medal - 2012 nent pedagogue Stefan Gheorgiu. She has won • Offi cer of the Order of Canada – 2012 several national and international competitions. • Honorary doctorate from Montreal Concordia Convinced of the need to introduce classical music University’s Faculty of Fine Arts - 2015 to a wider audience, Dubeau has been a pioneer Angèle Dubeau plays on the “Des Rosiers” in programming and hosting gala concerts and Stradivarius violin (1733). weekly music television shows such as the famous 6 LA PIETÀ Mue par cette même volonté d’innover, Angèle Transformed by the desire to innovate, Angèle Dubeau fonde en 1997 La Pietà, un ensemble à Dubeau founded La Pietà in 1997, an all-female cordes féminin composé de musiciennes parmi les string ensemble featuring some of Canada’s meilleures au Canada. Sans le savoir, cette expé- best musicians. What she could not have known rience qui ne se voulait, à l’origine, qu’un projet at the time was that this experiment, origin- de disque ponctuel, allait mobiliser presque tout ally conceived for periodic recordings, would son temps. Dès ses débuts, l’ensemble se produit gradually become a full-time occupation. From sur plusieurs des scènes les plus prestigieuses early on, the ensemble gained a solid reputation, du Canada ainsi qu’à la télévision, et acquiert playing Canada’s most prestigious venues and on une solide reconnaissance. « Précision d’attaque, television. “Precise attacks, excellent ensemble qualité du jeu d’ensemble et énergie… On se playing and energy… One would think oneself croirait magiquement revenu à l’époque bénie des magically transported to the blessed era of the Solisti di Zagreb… fougue, présence… Le sourire Solisti di Zagreb… passion, presence… The des musiciennes est contagieux, d’autant plus qu’il musicians’ smiles are contagious” noted Le passe tant par la bouche que par les oreilles », Devoir.
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    Bibliography ADORNO, THEODOR W (1941). ‘On Popular Music’. On Record: Rock, Pop and the Written Word (ed. S Frith & A Goodwin, 1990): 301-314. London: Routledge (1publ. in Philosophy of Social Sci- ence, 9. 1941, New York: Institute of Social Research: 17-48). —— (1970). Om musikens fetischkaraktär och lyssnandets regression. Göteborg: Musikvetenskapliga in- stitutionen [On the fetish character of music and the regression of listening]. —— (1971). Sociologie de la musique. Musique en jeu, 02: 5-13. —— (1976a). Introduction to the Sociology of Music. New York: Seabury. —— (1976b) Musiksociologi – 12 teoretiska föreläsningar (tr. H Apitzsch). Kristianstad: Cavefors [The Sociology of Music – 12 theoretical lectures]. —— (1977). Letters to Walter Benjamin: ‘Reconciliation under Duress’ and ‘Commitment’. Aesthetics and Politics (ed. E Bloch et al.): 110-133. London: New Left Books. ADVIS, LUIS; GONZÁLEZ, JUAN PABLO (eds., 1994). Clásicos de la Música Popular Chilena 1900-1960. Santiago: Sociedad Chilena del Derecho de Autor. ADVIS, LUIS; CÁCERES, EDUARDO; GARCÍA, FERNANDO; GONZÁLEZ, JUAN PABLO (eds., 1997). Clásicos de la música popular chilena, volumen II, 1960-1973: raíz folclórica - segunda edición. Santia- go: Ediciones Universidad Católica de Chile. AHARONIÁN, CORIúN (1969a). Boom-Tac, Boom-Tac. Marcha, 1969-05-30. —— (1969b) Mesomúsica y educación musical. Educación artística para niños y adolescentes (ed. Tomeo). 1969, Montevideo: Tauro (pp. 81-89). —— (1985) ‘A Latin-American Approach in a Pioneering Essay’. Popular Music Perspectives (ed. D Horn). Göteborg & Exeter: IASPM (pp. 52-65). —— (1992a) ‘Music, Revolution and Dependency in Latin America’. 1789-1989. Musique, Histoire, Dé- mocratie. Colloque international organisé par Vibrations et l’IASPM, Paris 17-20 juillet (ed. A Hennion.
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