Courriel:
cmarchand@centremusique.ca
Région:
Québec
Tâche: 
Directrice générale / Directrice artistique
Claire Marchand

Acclamée par la critique pour la « subtilité de couleurs, sa technique et sa virtuosité », la flûtiste Claire Marchand est récipiendaire d’un Prix Opus au Québec pour le meilleur concert de l’année en musique contemporaine.


Appel de propositions: Musique de chambre et opéra indépendant [Fermé]

août 16, 2016
National

Conférence de l’Association des agents d’artistes
Nous vous remercions de votre intérêt pour ce projet. NOUS N’ACCEPTONS PLUS DE SOUMISSION. Des jurys aux niveaux national et régional vont maintenant étudier les demandes reçues, et communiqueront leur choix à tous les participants d’ici la fin septembre.






Tim Brady est le lauréat du Prix Amis de la musique canadienne 2016

août 9, 2016
National

La Ligue canadienne des compositeurs (LCC) et le Centre de musique canadienne (CMC) sont heureux d'annoncer que Tim Brady est le lauréat du Prix Amis de la musique canadienne 2016.

Compositeurs apparentés : Timothy Brady, Gabriel Dharmoo





Working song and the last dead leftover for string quartet and karlax

Video:

Working song and the last dead leftover for string quartet and karlax from D. Andrew STEWART on Vimeo.

Type:Video
Description:"Working song and the last dead leftover" (for amplified string quartet and karlax digital musical instrument) combines the classical string quartet ensemble with electroacoustic sound, which is played (produced and modulated) by a new type of 21st-century electronic musical instrument, known as the karlax.

This new composition was composed for the Penderecki String Quartet, who premiered the new work on 2 June, 2016, at the Perimeter Institute (Waterloo, Ontario). This first performance was part of an engaging concert theme that explored the integration of the string quartet, which is by far one of the most significant instrument combinations of classical music, and innovative music technologies of the twentieth and twenty-first centuries. As a result, at the heart of this concert theme was a meeting between the arts and sciences – old and new – presented at a leading institute for theoretical physics.

In "Working song", one of my creative goals was to "fracture the acousmatic" (Adrian Moore, 2008). That is to say, my composition supplants the traditions of studio-produced electronic music by the live control of sound synthesised in real time. Unlike the studio tradition, in which sound is "fixed" for future replication in a concert, musical sound is entirely generated anew with each performance of Working song. At the same time, in my composition, I adapt acousmatic techniques and tools, which "allow the creation of sounds that transcend the physical constraints of instrumental and vocal musical practice" (John Young, 2015), to a new form of embodied (gesture-dependent) electronic musical performance.

Two aspects comprise the title of this composition: "working song" and "last dead leftover". In the case of "working song", this facet can be understood as both implementing/exploiting features of musical song and music for singing while working (e.g., work chant). The two primary materials (above) are brought together in an effort to showcase a perpetual melody and at the same time, evoke the sonic environment of repetitive, mechanical labour (come un meccanismo di precisione [György Ligeti, 1968]). With respect to the "last dead leftover", I take a philosophical viewpoint regarding the present-day global population movements. Through my art, I wish to highlight the importance of recognising the humanity of migrants who are labouring to escape civil unrest. Furthermore, in popular media culture (e.g., The Last of Us, The Leftovers), I detect trends that appear to interrogate this humanity – nurturing fears of annihilation (political, economic, social, etc.). Working song was composed in an effort to challenge these fears – calling forth melody from incessant noise, as a metaphor for the inherent humanity of a people, no matter their origins.

For more information and implementations of the karlax, please see: My Vimeo Karlax "Album" vimeo.com/album/3449584

Karlax developer and manufacturer (and links to the karlax community)
dafact.com
Crédits :D. Andrew Stewart, Penderecki String Quartet
Durée:00:16:53
Related People:D. Andrew StewartD. Andrew Stewart
Created Date2016

Retour sur 1967 : Appel de propositions

juillet 21, 2016
National

Retour sur 1967 : Appel de propositions
Date limite : Le 31 août 2016

L’année 1967 a été marquée par de très nombreuses commandes de nouvelle musique de concert au Canada, dont beaucoup se concentraient sur ce moment unique de l’histoire de notre pays : le centenaire du Canada. Cinquante ans plus tard, comment ces partitions répondent-elles aux attentes et aux rêves des Canadiens? Comment nos créateurs conçoivent-ils cette musique dans le contexte du cent cinquantième anniversaire de notre pays?






VOICI…  

Premiere of Alice Ping Yee Ho's Evolving Elements for Marimba and String Orchestra

Video:
Type:Video
Description:Premiere of Alice Ping Yee Ho's Evolving Elements for Marimba and String Orchestra. Recorded Live April 22, 2016 in Walter Hall.

Michael Murphy, Marimba
Samuel Tam, Conductor

Heng Han Hou, Christina Choi, Hua-Chu Huang, Dominic Greene, Violin
Meagan Turner, Emilie Gelinas-Noble, Viola
Benjamin Louwerscheimer, Alice Kim, Cello
Doug Ohashi, Contrabass
Crédits :Alice Ping Yee Ho, Michael Murphy, Samuel Tam
Durée:00:22:45
Objet:Alice Ping Yee Ho | Evolving Elements
Related People:Alice Ping Yee HoAlice Ping Yee Ho
Related Titles:
Created Date22 Apr 2016

The Finding by Roydon Tse & Meharoona Ghani

Video:
Type:Video
Description:The Finding by Roydon Tse & Meharoona Ghani, presented by Art Song Lab 2014:

Phoebe MacRae, soprano
Marguerite Witvoet, piano

www.artsonglab.com
Crédits :Roydon Tse, Meharoona Ghani; Phoebe MacRae, Marguerite Witvoet
Durée:00:06:10
Related People:Roydon TseRoydon Tse
Created Date05 Jul 2016

Memories for Harp and Marimba by Roydon Tse (2014)

Video:
Type:Video
Description:Sanya Eng (Harp) and Ryan Scott (Marimba) perform my work Memories, written for the Canadian Contemporary Music Workshop 2014 and premiered by the duo at the University of Toronto, Walter Hall, 26th of Sept 2014.

The piece is my first for this instrumental combination, and there are different layers to the piece. On the surface, this duet is an exploration of minimalism and convergence. Throughout the work, I created a musical arc using the simplest material, a repeating sextuplet figure beginning in the harp. As the piece evolves organically, lines fade into each other creating a panning effect on stage. On the second level, “Memories” is a conceptual representation of my stream of consciousness and how memories can often surface in my mind and disappear as if it had never been there. To portray this phenomenon, I introduce a melodic fragment halfway through the piece that weaves in an out of a one note ostinato. The fragment is developed within this framework, and is always accompanied by the ostinato creating a line through the piece.
Crédits :Roydon Tse, Sanya Eng, Ryan Scott
Durée:00:08:35
Related People:Roydon TseRoydon Tse
Created Date05 Jul 2016

Breathe (2015) by Roydon Tse - performed by the Cecilia String Quartet

Video:
Type:Video
Description:Breathe (2015) by Roydon Tse - performed by the Cecilia String Quartet.

The winning piece in the 2015 University of Toronto Quartet Composition Competition, "Breathe" (2015) came out of an exploration of the gesture of breathing, using the dynamic envelop of inhaling and exhaling as a point of departure and inspiration. The composition is a journey from motion to stillness, where inner turmoil and agitation dissipates into a calm sense of being.

Min-Jeong Koh, violin I
Sarah Menatallah, violin II
Caitlin Boyle, viola
Rachel Desoer, cello
www.ceciliastringquartet.com

Recording Engineer: Peter Olsen
Crédits :Roydon Tse, Cecilia String Quartet
Durée:00:12:03
Related People:Roydon TseRoydon Tse
Created Date05 Jul 2016