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  Kristoff K.Roll ‘” Supe...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Il/elle ont donné de multiples concerts en France et à l’étranger. Il/elle jouent avec de nombreux artistes de la scène internationale qu’ils/elles soient musiciens, danseurs, poètes, marionnettistes, circassiens ou cinéastes.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir supermusique.qc.ca comme domaine prioritaire	He/she have given multiple concerts in France and aboard. He/she play with a wide range of international artists, including musicians, dancers, poets, puppeteers, circus artists, and filmmakers.

  Marta Tiesenga ‘” Super...  

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Dans leur travail, ils explorent et expérimentent les intersections entre la cognition et la théorie musicales, la répétition, la composition, le langage et la communication non verbale, le caractère éphémère et l’expérience.

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Marta Tiesenga is an interdisciplinary artist, multi-instrumentalist, composer, and animator. In their work, they explore and experiment with intersections between music cognition, music theory, repetition, composition, language and nonverbal communication, transience, and experience. They work with images/sound/performance and strive to find an encompassing synthesis between media with inter-sensory art. To do this, they push the boundaries of score-making and interpretation. They explore how atypical instructions are interpreted by performers negotiating this interpretation in real time. Currently residing in Los Angeles, Marta is an active performer, improviser, and proponent of new music and interdisciplinary collaborations, performing in LA venues ranging in diversity from The Echo to The Geffen Contemporary at MOCA. Notable collaborations include working with the Civic Orchestra of Chicago with coachings conducted by members of Eighth Blackbird, the New Century Players, ensembles at the Eastman School of Music, New England Conservatory, Yale University, and California Institute for the Arts, as well as soloists from around the world.

  Isabelle Bozzini ‘” Sup...  

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Présentant près d’une quarantaine de concerts par année, les Bozzinis produisent leur propre série montréalaise incluant l’événement Salon des compositeurs + Composer’s Kitchen. Ils tournent régulièrement en Europe, aux États-Unis et au Canada, et ont lancé l’étiquette de disque collection qb à l’automne 2004 en collaboration avec DAME.

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She is a founding member of the Quatuor Bozzini which since its inception in 1999 has become one of Canada’s leading string quartets on national and international scenes. Playing close to forty concerts per year, the Bozzinis produce their own concert series in Montréal including the Salon des compositeurs + Composer’s Kitchen event. They tour several times per year in Europe, the US and Canada and have launched the label collection qb in the Fall of 2004 in collaboration with DAME. Isabelle Bozzini also works with Kore Ensemble, and various improvising artists such as Malcolm Goldstein, François Houle, Benoît Delbecq, Diane Labrosse and Jean Derome. Having collaborated for many years with Joël Thiffault and the Montréal Baroque Orchestra, Isabelle Bozzini now plays regularly with Ensemble Arion. She also plays with Idées Heureuses, Ensemble Caprice, the Studio de Musique Ancienne de Montréal, and French harpsichordist and conductor Hervé Niquet.

  Marta Tiesenga ‘” Super...  

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Dans leur travail, ils explorent et expérimentent les intersections entre la cognition et la théorie musicales, la répétition, la composition, le langage et la communication non verbale, le caractère éphémère et l’expérience.

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Marta Tiesenga is an interdisciplinary artist, multi-instrumentalist, composer, and animator. In their work, they explore and experiment with intersections between music cognition, music theory, repetition, composition, language and nonverbal communication, transience, and experience. They work with images/sound/performance and strive to find an encompassing synthesis between media with inter-sensory art. To do this, they push the boundaries of score-making and interpretation. They explore how atypical instructions are interpreted by performers negotiating this interpretation in real time. Currently residing in Los Angeles, Marta is an active performer, improviser, and proponent of new music and interdisciplinary collaborations, performing in LA venues ranging in diversity from The Echo to The Geffen Contemporary at MOCA. Notable collaborations include working with the Civic Orchestra of Chicago with coachings conducted by members of Eighth Blackbird, the New Century Players, ensembles at the Eastman School of Music, New England Conservatory, Yale University, and California Institute for the Arts, as well as soloists from around the world.

  Francis Roberge ‘” Supe...  

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Il est de plus le professeur d’un atelier de percussions à l’Université de Montréal, cours qui prend d’ailleurs souvent l’allure d’un défoulement collectif contrôlé. Cet être aux yeux angéliques maîtrise ses instruments avec un raffinement unique. Qu’il les flatte ou qu’il les mate, ils sont toujours sous l’emprise de son jeu recherché.

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Francis was born in a field near Drummondville, on an excessively rainy day of that wonderful year of 1977. An experienced hard-hitter from an early age, he left his hometown - where he had completed not one, but two college degrees in music - with a certain sadness and hit the big city in order to further learn the tricks of the drum-banging trade. He is still there actually, currently completing his last year as an undergraduate student. Francis plays in several groups, including the back-up band of the rising star Catherine Major and the funk band Papillon. He also teaches a percussion workshop at the Université de Montréal, a workshop that often looks more like some kind of controlled collective release. This man with angel eyes displays an uncanny refinement in the mastery of his instruments. Whether he caresses them or beats them up, they always obey his fanciful playing.

  Thallus (2017) ‘” Super...  

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À bien des égards, elles me paraissaient comme une notation musicale naturelle que nous ne sommes plus capables de lire. Les lichens possèdent une structure, une communauté, des réseaux, et ils changent, soit dans le temps, soit d’un endroit à l’autre.

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What does lichen have to do with music? Walking through the tundra in the Arctic Circle, I was struck by the beauty and complexity of the communities of lichen beneath my feet. In many ways, it strikes me as a natural notation which we are now unable to read. It has structure, community, networks and it changes, both temporally and from location to location. For decades, scientists have used lichen as an environmental indicator — a ‘sensor’ for pollution, warming and cooling that doesn’t use batteries. I have set out to find what musical interpretation and performance can bring to a natural indictor such a lichen, and what may be uncovered about the Arctic environment in the process.

  Oiseaux d’ailleurs (201...  

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Je l’ai composé à Paris, en 1997, lorsque j’ai heureusement compris que, dans le cadre de mon existence mondiale, entre toutes sortes de pays, d’idéologies, d’allégeances et de langues, je n’étais ni aussi seul ni aussi étrange que le nationalisme qui, encore aujourd’hui, règne sur nos sociétés, voulait me le faire croire. La vie des apatrides est peut-être plus fragile et sujette aux soudains revers de fortune, mais ils le savent et savent s’ajuster.

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“The place was not ours / Neither could we have chosen the time” begins my own poem “To those born far away from home”. I wrote it in Paris in 1997, when I gratefully realized for the first time that in my global existence between all kinds of countries, ideologies, allegiances and languages I was neither as alone or strange as the nationalism that even to this day dominates our societies had made me believe. The lives of those who have no home may be brittle and prey to sudden reversals: but they know about this fact and can adapt. And they can indeed “cherish each fleeting caress” — because they never feel entitled to it.

  Oiseaux d’ailleurs (201...  

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Je l’ai composé à Paris, en 1997, lorsque j’ai heureusement compris que, dans le cadre de mon existence mondiale, entre toutes sortes de pays, d’idéologies, d’allégeances et de langues, je n’étais ni aussi seul ni aussi étrange que le nationalisme qui, encore aujourd’hui, règne sur nos sociétés, voulait me le faire croire. La vie des apatrides est peut-être plus fragile et sujette aux soudains revers de fortune, mais ils le savent et savent s’ajuster.

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“The place was not ours / Neither could we have chosen the time” begins my own poem “To those born far away from home”. I wrote it in Paris in 1997, when I gratefully realized for the first time that in my global existence between all kinds of countries, ideologies, allegiances and languages I was neither as alone or strange as the nationalism that even to this day dominates our societies had made me believe. The lives of those who have no home may be brittle and prey to sudden reversals: but they know about this fact and can adapt. And they can indeed “cherish each fleeting caress” — because they never feel entitled to it.

  Oiseaux d’ailleurs (201...  

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Ils se transforment en une carte sonore, une carte telle que la dessineraient des oiseaux ou des accros de l’iPod, avec des fragments musicaux à la place des notes, et une kyrielle de symboles mystérieux.

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These two poems lie at the core of my composition. They are transformed into a sonic map, a map as birds or iPod addicts would perhaps draw it, with musical fragments instead of notes, and with a plethora of cryptic signs. The musicians read this map with their ears and explore it with their eyes — and when they have absorbed both the signs and the sounds, they lift their heads and use their bodies and instruments to sing. They are one group — yet on stage, time and again, they become aliens to each other: they listen to voices in their headphones, sounds from another country. What music do they make of it?

  Oiseaux d’ailleurs (201...  

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Je l’ai composé à Paris, en 1997, lorsque j’ai heureusement compris que, dans le cadre de mon existence mondiale, entre toutes sortes de pays, d’idéologies, d’allégeances et de langues, je n’étais ni aussi seul ni aussi étrange que le nationalisme qui, encore aujourd’hui, règne sur nos sociétés, voulait me le faire croire. La vie des apatrides est peut-être plus fragile et sujette aux soudains revers de fortune, mais ils le savent et savent s’ajuster.

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“The place was not ours / Neither could we have chosen the time” begins my own poem “To those born far away from home”. I wrote it in Paris in 1997, when I gratefully realized for the first time that in my global existence between all kinds of countries, ideologies, allegiances and languages I was neither as alone or strange as the nationalism that even to this day dominates our societies had made me believe. The lives of those who have no home may be brittle and prey to sudden reversals: but they know about this fact and can adapt. And they can indeed “cherish each fleeting caress” — because they never feel entitled to it.

  SuperOption 3 ‘” Superm...  

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Les jeunes artistes de la formation affectionnent particulièrement les collaborations avec des compositeurs de notre temps et ils ont créé entre autres des œuvres de Christian Wolff, Michael Oesterle, Malcolm Goldstein, Gerald Barry et Jean Lesage.

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Honored with the 2000 Opus Award for Discovery of the Year, the Quatuor Bozzini is a lively young string-only group that sails freely from avant-garde events to more traditional concerts. Playing over 40 concerts a year in Canada, Europe, and the US, the Quatuor Bozzini draws its repertoire from the classical and romantic eras, all the way to improvised new music. The group’s young artists are especially fond of collaborations with living composers and they have premiered works by Christian Wolff, Michael Oesterle, Malcolm Goldstein, Gerald Barry, and Jean Lesage, among others.

  Oiseaux d’ailleurs (201...  

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Ils se transforment en une carte sonore, une carte telle que la dessineraient des oiseaux ou des accros de l’iPod, avec des fragments musicaux à la place des notes, et une kyrielle de symboles mystérieux.

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These two poems lie at the core of my composition. They are transformed into a sonic map, a map as birds or iPod addicts would perhaps draw it, with musical fragments instead of notes, and with a plethora of cryptic signs. The musicians read this map with their ears and explore it with their eyes — and when they have absorbed both the signs and the sounds, they lift their heads and use their bodies and instruments to sing. They are one group — yet on stage, time and again, they become aliens to each other: they listen to voices in their headphones, sounds from another country. What music do they make of it?

  Oiseaux d’ailleurs (201...  

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Ils se transforment en une carte sonore, une carte telle que la dessineraient des oiseaux ou des accros de l’iPod, avec des fragments musicaux à la place des notes, et une kyrielle de symboles mystérieux.

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These two poems lie at the core of my composition. They are transformed into a sonic map, a map as birds or iPod addicts would perhaps draw it, with musical fragments instead of notes, and with a plethora of cryptic signs. The musicians read this map with their ears and explore it with their eyes — and when they have absorbed both the signs and the sounds, they lift their heads and use their bodies and instruments to sing. They are one group — yet on stage, time and again, they become aliens to each other: they listen to voices in their headphones, sounds from another country. What music do they make of it?

  Oiseaux d’ailleurs (201...  

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Ils se transforment en une carte sonore, une carte telle que la dessineraient des oiseaux ou des accros de l’iPod, avec des fragments musicaux à la place des notes, et une kyrielle de symboles mystérieux.

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These two poems lie at the core of my composition. They are transformed into a sonic map, a map as birds or iPod addicts would perhaps draw it, with musical fragments instead of notes, and with a plethora of cryptic signs. The musicians read this map with their ears and explore it with their eyes — and when they have absorbed both the signs and the sounds, they lift their heads and use their bodies and instruments to sing. They are one group — yet on stage, time and again, they become aliens to each other: they listen to voices in their headphones, sounds from another country. What music do they make of it?

  Trèfle (2013) ‘” Superm...  

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Trèfle est une pièce constituée de cinq parties qui se chevauchent en fondu-enchainé presque tout au long de son déroulement. Il n’y a pas de chef et les interprètes sont libres de choisir à quel moment et pour quelle durée ils joueront ce qui leur est assigné.

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Trèfle is a five-part composition blending an actual score with loose instructions for improvised sections. The interpreters — under no conductor — are free to choose when and for how long will play either their score and/or their set of instructions. “The idea of musical mirror is ever present, whether in harmony, counterpoint and melody or even on a formal level. These mirrors are deformable and fractured; the images they reflect are blurry. Crazy reflections of blurry cloves (Fous reflets de trèfles fous).”

  Chantal Bergeron ‘” Sup...  

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Trêve de plaisanteries, Chantal est la principale acolyte de David Bussières. Leur collaboration date de plusieurs années et ils ont participé ensemble à plusieurs projets. Chantal croit beaucoup au potentiel d’Ipso Facto et est prête à investir tout le temps et l’énergie nécessaires à la réussite du groupe.

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Enough with the jokes. Chantal is David Bussières’ main acolyte. Their collaboration goes back a long way and they have worked together on several projects. Chantal firmly believes in Ipso Facto’s potential and is ready to pour in all the time and energy necessary to the group’s success. An accomplished violinist, Chantal sees Ipso Facto as the perfect vehicle to share her love of music and the stage. She also firmly believes in the international appeal of the quintet and seriously considers the possibility of putting together a European tour.

  Oiseaux d’ailleurs (201...  

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Ils se transforment en une carte sonore, une carte telle que la dessineraient des oiseaux ou des accros de l’iPod, avec des fragments musicaux à la place des notes, et une kyrielle de symboles mystérieux.

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These two poems lie at the core of my composition. They are transformed into a sonic map, a map as birds or iPod addicts would perhaps draw it, with musical fragments instead of notes, and with a plethora of cryptic signs. The musicians read this map with their ears and explore it with their eyes — and when they have absorbed both the signs and the sounds, they lift their heads and use their bodies and instruments to sing. They are one group — yet on stage, time and again, they become aliens to each other: they listen to voices in their headphones, sounds from another country. What music do they make of it?

  morceaux_de_machines ‘”...  

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Si le médium n’est plus la radio, il n’en demeure pas moins que A_dontigny et d’Orion ont gardé intact le côté immédiat et sans concession de leur démarche des premières années. Improvisateurs aguerris, ils savent amener l’auditeur consentant dans une aventure sonore qui les laissera pantois plus d’une fois.

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If there is hardly a radio in sight in their toolbox, one can be sure that A_dontigny and d’Orion have kept intact the immediate and uncompromising side of their approach from the first years. A highly skilled pair of improvisers, they know how to drive the consenting listener on a sonic adventure which will leave them with their mouth gaping. But if this dynamism and this tension seem almost theatrical to us, it’s a sort of théâtre de la cruauté we’re really talking about, impermeable to the false sentimentality of harmony, ferociously deconstructive of deifying systems such as Bach’s.

  Oiseaux d’ailleurs (201...  

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Ils se transforment en une carte sonore, une carte telle que la dessineraient des oiseaux ou des accros de l’iPod, avec des fragments musicaux à la place des notes, et une kyrielle de symboles mystérieux.

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These two poems lie at the core of my composition. They are transformed into a sonic map, a map as birds or iPod addicts would perhaps draw it, with musical fragments instead of notes, and with a plethora of cryptic signs. The musicians read this map with their ears and explore it with their eyes — and when they have absorbed both the signs and the sounds, they lift their heads and use their bodies and instruments to sing. They are one group — yet on stage, time and again, they become aliens to each other: they listen to voices in their headphones, sounds from another country. What music do they make of it?

  Trèfle (2013) ‘” Superm...  

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Trèfle est une pièce constituée de cinq parties qui se chevauchent en fondu-enchainé presque tout au long de son déroulement. Il n’y a pas de chef et les interprètes sont libres de choisir à quel moment et pour quelle durée ils joueront ce qui leur est assigné.

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Trèfle is a five-part composition blending an actual score with loose instructions for improvised sections. The interpreters — under no conductor — are free to choose when and for how long will play either their score and/or their set of instructions. “The idea of musical mirror is ever present, whether in harmony, counterpoint and melody or even on a formal level. These mirrors are deformable and fractured; the images they reflect are blurry. Crazy reflections of blurry cloves (Fous reflets de trèfles fous).”

  morceaux_de_machines ‘”...  

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Bien plus que le superficiel affront que le volume élevé de leurs compositions fait à la politesse des musiques trop aimables ou trop modestes. Si nos acrobates machinistes font un tel tapage, c’est qu’ils ont une conscience toute aiguë du risque de l’acrobatie.

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Is it just noise? No, there is much more than just noise in these exuberant, life-affirming soundtracks. Just as there is more to the loudness of their composition than a superficial affront to musics which are too easy to like, or too modest. If our machinist acrobats make such a ruckus, it’s because they are acutely conscious of the risk their acrobatics entail. That said and done, we are left with a music that is lively, highly personal and full of depth.

  morceaux_de_machines ‘”...  

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Bien plus que le superficiel affront que le volume élevé de leurs compositions fait à la politesse des musiques trop aimables ou trop modestes. Si nos acrobates machinistes font un tel tapage, c’est qu’ils ont une conscience toute aiguë du risque de l’acrobatie.

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Is it just noise? No, there is much more than just noise in these exuberant, life-affirming soundtracks. Just as there is more to the loudness of their composition than a superficial affront to musics which are too easy to like, or too modest. If our machinist acrobats make such a ruckus, it’s because they are acutely conscious of the risk their acrobatics entail. That said and done, we are left with a music that is lively, highly personal and full of depth.

  Les cahiers (2011) ‘” S...  

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Celui du timide, du cancre, du zélé, de la brute, du rêveur, du contestataire, du libre-penseur, du gentil, de l’indécis et du bavard. Et les dix musiciens doivent faire ressortir ce caractère lorsqu’ils arrivent à l’indication «solo» dans leur cahier.

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So there are ten notebooks, one each for the shy one, the stupid one, the zealous one, the bully, the dreamer, the dissenter, the free-thinker, the kind one, the indecisive one, and the talkative one. And the ten musicians have to channel this personality when they reach the “solo” indication in their notebook. Just to keep things fresh, musicians exchange notebooks each time they perform the piece, both at rehearsals and in concert.

  Les cahiers (2011) ‘” S...  

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Celui du timide, du cancre, du zélé, de la brute, du rêveur, du contestataire, du libre-penseur, du gentil, de l’indécis et du bavard. Et les dix musiciens doivent faire ressortir ce caractère lorsqu’ils arrivent à l’indication «solo» dans leur cahier.

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So there are ten notebooks, one each for the shy one, the stupid one, the zealous one, the bully, the dreamer, the dissenter, the free-thinker, the kind one, the indecisive one, and the talkative one. And the ten musicians have to channel this personality when they reach the “solo” indication in their notebook. Just to keep things fresh, musicians exchange notebooks each time they perform the piece, both at rehearsals and in concert.

  Diane Labrosse - Martin...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Après une brillante tournée au Japon en novembre 2003, Labrosse - Tétreault partent pour le plus grand festival de musique expérimentale de l’Australie: What is Music? Ils joueront aussi bien en solo qu’en duo dans les villes de Sydney et de Melbourne, soit deux des trois villes où se déroule ce festival.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir supermusique.qc.ca comme domaine prioritaire	After a successful first Japanese tour in November 2003, Labrosse - Tétreault are now heading for Australia’s greatest experimental music festival: What is Music? They will play in solo and duo in the cities of Sydney and Melbourne, two of the three cities presenting this event!

  The Post Truth Pleasure...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Voici une citation de Gillian Triggs, ancienne présidente de la Commission Nationale Australienne des Droits de l’Homme, lors d’un discours de 2017. Elle note que «l’idée de faits alternatifs crédibles a créé un univers à la “Alice au pays des merveilles” où les mots signifient ce que nous décidons qu’ils signifient.»
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir supermusique.qc.ca comme domaine prioritaire	The words sung state “Australia now ignores laws of basic #HumanRights”. This is a quote from former president of the Australian Human Rights Commission, Gillian Triggs, at an oration in 2017. She notes that “the idea of alternative facts which had credibility has created an ‘Alice in Wonderland’ world where words mean what we choose them to.

  Les Poules ‘” Jean Dero...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Jean Derome et Pierre Tanguay: deux multi-instrumentistes virtuoses; deux géants de la musique improvisée, deux maniaques de l’invention; ce duo est un témoignage important et essentiel sur la musique improvisée et sur le bonheur qu’ils ont de jouer ensemble.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir supermusique.qc.ca comme domaine prioritaire	Jean Derome and Pierre Tanguay — two masters of improvisations, two maniacs of music, two crackpots of invention — seem to be doing absolutely everything in this plink-plonk festival short of getting up and dancing to their own music. A significant and essential testimony about improvised music and the joy Jean Derome and Pierre Tanguay experience when playing together.

  Kristoff K.Roll ‘” Supe...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Dans les années 90, il/elle ont été parmi les acteurs de l’explosion du studio de composition électroacoustique sur scène. Le studio et ses logiques sont devenu instruments de jeu improvisé live, alors qu’ils étaient jusque là cachés du public.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir supermusique.qc.ca comme domaine prioritaire	In the ’90s, he/she were major players in the advent of the electroacoustic composition studio live on-stage. The studio and its own logic, kept hidden from the public until then, became instruments of live improvised music-making. A current of creative effervescence rose from this move to the stage.

  Marta Tiesenga ‘” Super...  

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Dans leur travail, ils explorent et expérimentent les intersections entre la cognition et la théorie musicales, la répétition, la composition, le langage et la communication non verbale, le caractère éphémère et l’expérience.

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Marta Tiesenga is an interdisciplinary artist, multi-instrumentalist, composer, and animator. In their work, they explore and experiment with intersections between music cognition, music theory, repetition, composition, language and nonverbal communication, transience, and experience. They work with images/sound/performance and strive to find an encompassing synthesis between media with inter-sensory art. To do this, they push the boundaries of score-making and interpretation. They explore how atypical instructions are interpreted by performers negotiating this interpretation in real time. Currently residing in Los Angeles, Marta is an active performer, improviser, and proponent of new music and interdisciplinary collaborations, performing in LA venues ranging in diversity from The Echo to The Geffen Contemporary at MOCA. Notable collaborations include working with the Civic Orchestra of Chicago with coachings conducted by members of Eighth Blackbird, the New Century Players, ensembles at the Eastman School of Music, New England Conservatory, Yale University, and California Institute for the Arts, as well as soloists from around the world.

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Dans leur travail, ils explorent et expérimentent les intersections entre la cognition et la théorie musicales, la répétition, la composition, le langage et la communication non verbale, le caractère éphémère et l’expérience.

Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine supermusique.qc.ca as primary domain

Marta Tiesenga is an interdisciplinary artist, multi-instrumentalist, composer, and animator. In their work, they explore and experiment with intersections between music cognition, music theory, repetition, composition, language and nonverbal communication, transience, and experience. They work with images/sound/performance and strive to find an encompassing synthesis between media with inter-sensory art. To do this, they push the boundaries of score-making and interpretation. They explore how atypical instructions are interpreted by performers negotiating this interpretation in real time. Currently residing in Los Angeles, Marta is an active performer, improviser, and proponent of new music and interdisciplinary collaborations, performing in LA venues ranging in diversity from The Echo to The Geffen Contemporary at MOCA. Notable collaborations include working with the Civic Orchestra of Chicago with coachings conducted by members of Eighth Blackbird, the New Century Players, ensembles at the Eastman School of Music, New England Conservatory, Yale University, and California Institute for the Arts, as well as soloists from around the world.