September 21 

Talk with Yves Daoust at 7:30 pm /
Concert at 8:00 pm

Conservatoire de musique de Montréal
4750 Av. Henri-Julien, Montréal
(near metro Laurier and Mont-Royal)

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Électrochoc NO. 1

Program


Bernard Parmegiani: De Natura Sonorum (1975)
Spaitailized by Yves Daoust

• 1.1. incidences / résonances (4:00)
  
• 1.2. accidents / harmoniques (4:46)
  
• 1.3. géologie sonore (4:34)
  
• 2.1. dynamique de la résonance (2:53)
  
• 2.2. étude élastique (6:42)
  
• 2.3. conjugaison du timbre (5:05)
  
• 3.1. incidences / battements (1:43)
  
• 3.2. natures éphémères (4:08)
  
• 3.3. matières induites (3:44)
  
• 3.4. ondes croisées (2:01)
  
• 3.5. pleins et déliés (4:39)
  
• 4.1. points contre champs (8:31)
  
  

« The first series is made up of six movements, most of which connect, generally in pairs, electronic sounds with instrumental and more rarely concrete sounds (...). The second series of movements calls more on concrete sounds and electronics, while the instrumental appears very ephemerally. » (B. P.) - Premiered at Salle Wagram, Paris, on June 3, 1975.

September 30 to October 22

Saturdays and Sundays

Centre PHI
407 Rue Saint-Pierre, Montréal
(near metro Square-Victoria—OACI or Place-d'Armes)

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An immersive panorama

Louis Dufort, artistic director of AKOUSMA, has prepared a dive into the heart of the international electroacoustic repertoire which is available in 4 programs of one hour each.

In the PHI Center's listenig room, the Habitat sonore, come and discover 20 universes in which sound reigns supreme and takes control of your senses. AKOUSMA wishes to thank Renelle Desjardins Chiasson (programming director) and Philippe Rochefort (creative sound supervisor).
  

                         

October 1^st

3:00 pm

Librairie Résonance
40 Rue Beaubien E., Montréal
(near métro Beaubien)

As part of Les Journées de la culture.

Réjean Beaucage, general director of AKOUSMA, presents a brief history of musique concrète to mark the 75^th anniversary of this sonic art.

The astonishing turnatablist Martin Tétreault accompanies him to illustrate his remarks with resounding examples.

After its invention in Paris in 1948 by Pierre Schaeffer, musique concrète quickly encountered electronic music to generate electroacoustic music, which itself declined into several genres over the last century, from acousmatics to mixed music, video music, etc. On this International Music Day, we invite you to discover this still little-known branch of the art of sounds.

October 6

9:00 am tp 5:00 pm

Faculté de musique de l’Université de Montréal
200 Av. Vincent-D'Indy, Outremont (metro Édouard-Montpetit)

• The different activities will be presented in French •

Journée d’étude: 75 ans de musique  concrète
En collaboration avec l’Observatoire interdisciplinaire de création et de recherche en musique (OICRM)


With the collaboration of Myriam Boucher (composer and teacher in digital music, member OCIRM) and under the coordination of Marie Anne Bérard (candidate for a master's degree in composition and sound creation).

Full program coming soon.

Reception: 9:00 a.m. to 9:30 a.m.

Activity 1: round table - 9:30 a.m. to 10:30 a.m.
75 years of concrete music

Activity 2: interview - 10:45 a.m. to 11:45 a.m.
Around Pierre Henry

Activity 3: round table - 1:15 p.m. to 2:15 p.m.
Financing electroacoustics

Activity 4: round table - 2:30 p.m. to 3:30 p.m.
The mediation of electroacoustics

Activity 5: round table - 3:45 p.m. to 5:00 p.m.
What future for electroacoustics?

Followed by a 5 to 7!

October 13, 2023

7:30 pm

Église Sainte-Thérèse-de-l'Enfant-Jésus
8200 rue Saint-Hubert, Montréal
(metro Jarry)

An exceptional concert!

One of Pierre Henry's masterpieces, L’Apocalypse de Jean - Electronic oratorio in five parts (1968), spatialized by Louis Dufort.

PIERRE HENRY
Pierre Henry was born on December 9, 1927 in Paris, he studied music from the age of seven. In 1944, guided by Olivier Messiaen, he composed and thought about the music of the future. His meeting with Pierre Schaeffer was decisive for his creation. Inventor of technical composition processes now largely standardized, he has continued to give this music a breath and an ambition that we did not suspect of him at the start, by constructing a colossal and varied set of works which continue to touch everyone. audiences and all generations. He also created a “sound” as personal and recognizable as those of the most famous jazz musicians, and imposed a universe of cosmic magnitude, a true world where the archaic and the mythical rub shoulders with the familiar, and which sings of wonder. , the hopes and fears of our time.

THE APOCALYPSE OF JOHN (1968) 1h41’08
Electronic Oratorio in 5 times with the voice of Jean Negroni
Text: translation and adaptation by Georges Levitte
Premiered on October 30, 1968 at the Théâtre de la Musique

First time
Title-revelation
John in Patmos
The throne
The book

Second time

The four horsemen
The souls cry
The stars fell
No wind on earth
There was silence in the sky
Thunder Censer
Cataclysms II
Seventh trumpet

Third time

Sea Beast
Beast of the earth
The Lamb and the Pure Men on the Mountain
Sea of Glass- Harps of God

Fourth time

Six vials of wrath

Fifth beat

The great prostitute
Cataclysms IV
Here soon

The message of the Apocalypse, a revelation of prophetic tradition, is transmitted to us through visionary symbolism; in it, imagery takes precedence over discourse, which often serves only to emphasize its emblematic content, with its allegories, significant numbers, enigmatic proclamations. Its text expresses in a unique, awe-inspiring, and often paradoxical way the proximity of the end of the world and lends a particular gravity to the present.

In this vision of the end, which corresponds to that of creation, our time of conflicts and trials will conclude in the peremptory and definitive manifestation of divine order.

The prophetic message of the Apocalypse has retained its urgency more than ever.

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A solo performance on the Casavant organ (Opus 1422, 1931) by KARA-LIS COVERDALE.

“ Coverdale is well known for her work in electronics and innovation in digital music systems, but her performance at Akousma will draw from over a decade of her employment by the church as organist, while embracing the non-compromising artistic presence Coverdale is known for, drawing sounds out of the organ that re-frame the instrument and its repertoire with distinctive approaches to tactility, register, and shadow form. Her performance will be connected to her ongoing specialized repertoire in transcendence, embodiment, and real-time transcription of narrative and e-motion.”