: composer - sound artist - performer - bassoon improviser - live electronics musician

Trouée

Pour saxophone baryton doublé au piccolo, clarinette contrebasse, 2 Table de Babel (instrument de Jean-François Laporte), un orgue de sirène (instrument de Jean-François Laporte), percussions doublées à la lame électrique, à l’égoïne à tiges, au flexatone sur pied (instruments de Sonia Paço-Rocchia)
Commande de SuperMusique pour une projet commun avec Totem Contemporain


Il y a l’oublie. Ce sentiment qu’on se souvient presque de quelque chose, mais que ça nous revient pas. Des trous de mémoire. Ces trous, comment les comblons-t-on? Et il y a aussi des trous mouvants qui deviennent excessivement grands; la démence.

L’étoffe de la mémoire, se transformant, se pliant, dépliant et qui s’enrobe autour du temps et des rêves qui doucement la rende de plus en plus trouée.

Tu vas me manquer papy

Live!

TWO Opus Awards for Ode au métal

My work Ode au métal was awarded two Opus, "Best concert of the year, new and electroacoustic music" and «Best new work»!!

I thank Productions Recto-Verso, Groupe Le Vivier, Gesù, Canadian Council for the Arts, Conseil québécois de la musique and Quasar's team. A special thank you to the musicians of the saxophone quarte Quasar, Marie-Chantal Leclair, Mathieu Leclair, Jean-Marc Bouchard, André Leroux to have been fully involved in my work and giving full confidence in my ideas.

Interview with Marc Hervieux during Opus Awards ceremony.

Photos by Bélisle. - Trophy by Espace VERRE - Jean-Marie Giguère

Photo de la compositrice et des musiciens avec les deux prix Opus

End-of-residency performance at KIAC

End-of-residency performance as Artist-in-Residence at Klondike Institute of Art & Culture.

Double-Tranchant @ KIAC
Double-Tranchant, meaning double-edged in French, is a solo show-installation for invented, found and automated instruments made with object that can cut, with real-time processing in a quadriphonic setting.

A piece for musical saws, stemsaws*, automated circular saw blades*, automated mobile of knifes*, automated electric musical saws* and other sharp found instruments with a live electronics setup that is a subtle gradient between playing an electronic instrument and playing with an algorithmic “musician” using a concept of indirect control by layers of flexible automations.

Double-Tranchant is a commentary on the contrast between the brute, the sharp and the flexible, the fascinating.

This piece is a long term project that has recently received the support of the Canada Council for the Arts. The residency at KIAC is to work on the code for the live electronics setup, working on the form of the show and composition in this really inspiring environment and to find some new sonic material with the help of Dawson community.


2th of Januarty, 19:30
Macaulay House (Princess and 7th), Dawson City, Yukon

Facebook Event

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