Browsing: Contemporary

L’OSL honore un champion lavallois L’Orchestre symphonique de Laval rendra hommage au grand athlète Bruny Surin, champion olympique en 1996 aux Jeux d’Atlanta dans le relais 4 x 100 mètres. Ce dernier a été nommé grand Lavallois de la saison 2018-2019 de l’OSL. Pianiste amateur, il s’est donné le défi de jouer en solo, avec les musiciens de l’orchestre, un arrangement de Für Elise de Beethoven. Au programme également, la Symphonie no 2 de Tchaïkovski. Le 13 février 2019, 19 h 30, à la salle André-Matthieu de la Maison des arts de Laval. www.osl.qc.ca     JB Pentaèdre et Flûte Alors! réunis Le 15 février sera…

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This release brings together works written between 2008 and 2015 by London-based Canadian Cassandra Miller. The Bozzini Quartet, who gave most of the premieres, is perhaps best placed to open the door to this delicate world. Four works reveal the manner of the composer, who, like the writer drawing inspiration from newspaper clippings, is on the lookout for the ambient musical material as the basis of her composition. Thus, Warblework starts with bird songs to offer us a world of changing textures with a treatment of silence and just intervals of remarkable efficiency. About Bach, which won the Jules Léger…

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SILENT NIGHT. Music by Kevin Puts & Libretto by Mark Campbell based on the screenplay by Christian Carion for the motion picture Joyeux Noël. An original production of Wexford Festival Opera in partnership with the Atlanta Opera and the Glimmerglass Festival. Scenic Design by Erhard Rom with costume design by Victoria Tzykun. Production by Tomer Zvulun. Hailey Clark (Anna Sörensen), Joseph Dennis (Nikolaus Sprink), Craig Verm (Lieutenant Gordon), Craig Irvin (Lieutenant Horstmayer), Troy Cook (Father Palmer), David Adam Moore (Lieutenant Audebert), Andrew Wilkowske (Ponchel). Austin Opera Chorus and Orchestra, Timothy Myers, conductor. Long Center for the Performing Arts, Austin, Texas.…

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La mémoire en acte : 40 ans de création musicale. (Memory in action: 40 years of musical creation.) / Editorial Committee: Laure Marcel-Berlioz, Omer Corlaix, and Bastien Gallet / CMDC, MF Publishing, 2017, 288 pages The Centre de Documentation de la Musique Contemporaine (CDMC) has been in existence since 1977. To celebrate its 40th anniversary, it has published a major work providing a panorama of current musical creation, through the words of various actors in the field, musicians, composers, producers, directors of record companies, musicologists… The first part reviews the history of the institution and the individual who ensured its founding,…

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Au cœur de la création musicale. Paroles de compositeurs recueillies par Myriam Tétaz-Gramegna. (At the heart of musical creation. Composer lyrics collected by Myriam Tétaz-Gramegna.) / La Bibliothèque des Arts, 2018, 184 pages “Owing to coincidences or appointments, these interviews were exceptional moments with artists who turned out to be impressive personalities, both in the extent of their culture and their sensitivity to the reality of the world.” This is how journalist Myriam Tétaz-Gramegna closes this book, which brings together interviews with 21 major composers of the 20th century, collected throughout her journalist’s career at a Swiss newspaper. Strong, brilliant,…

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When I started working as a copyist in the early 1980s, all the production work of one orchestral score and its separate parts was still done by hand. In music, the appearance of the first music notation software programs revolutionized editing. It became possible to produce a score and then produce its separate parts. The corrections made in one section would be reflected in the other, which was a considerable advantage. However, despite advances in software, the editing of contemporary music remains a significant challenge. Let’s see how programs such as Finale and Sibelius behave when faced with some writing…

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Every musician has undoubtedly seen graphic notation written by John Cage, Morton Feldman and other masterminds of this link between music and visual arts. What is behind these mysterious scores that start with symbols on a staff and end up looking like abstract designs? Danielle Palardy Roger and Joane Hétu, co-directors at SuperMusique, have helped us discover this mystery through workshops and concerts presented for more than 20 years. “From its inception, SuperMusique was mostly made of self-taught professionals from the theatre, visual arts, and street music industries,” said Roger. “Graphic notation brought all of us around the music table.”…

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Ciel convertible / Gilbert Patenaude, music; Patrick Coppens, poetry / Self-produced, 2018 Nearly 15 years after its publication, the collection of the poet Patrick Coppens is dressed in new colors in this album with music signed by Gilbert Patenaude. The 49 texts are as many dreamlike microcosms shaped by words and rhythm, without time or place. Angels rub shoulders with toads; vampires are surprised to believe in God. The music is written for four voices: two human (Jacqueline Woodley, soprano, and Julien Patenaude, baritone) and two instrumental (Sheila Hannigan, cello, and Mariane Patenaude, piano). Piano and cello change roles according to…

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Tim Brady, Music For Large Ensemble / Bradyworks Large Ensemble, dir. Cristian Gort / Starkland ST-230, 2018 We find two Tim Brady works on this album recorded at Studio 270 a few days after their creation at the 2017 Victoriaville Music Festival. Desire is a concerto in three movements for electric guitar and chamber orchestra. The first movement, Ecstasy, features hectic minimalist writing, centered on hammered rhythmic patterns exchanged between the soloist and the orchestra. Beauty is a very evocative textural exploration; the melodic guitar seems to be making its way through an increasingly lugubrious universe, magnified by solo interventions through…

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Transient Canvas, Wired / New Focus Recordings, 2018 The latest creation of the American duo Transient Canvas, Wired continues the exploratory work undertaken by Amy Advocat (bass clarinet) and Matt Sharrock (marimba) on their first release Sift. Once again, the musicians display undeniable technical know-how, obvious complicity and an in-depth understanding of the artistic vision of the composers who contributed to Wired. Dedicated to the interpretation of current works, this duo offers seven premieres with surprisingly varied styles that boldly exploit the possibilities of two instruments to which electronic devices are added. The result is strikingly original and flirts with avant-garde…

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