February 22, 2024
SOUNDWICH XVIII
Discussion 7:30 pm / Concert 8:00 pmEn codiffusion avec le Conservatoire de musique de Montréal
4750, Av. Henri-Juilien
Tickets
Jules Bastin-Fontaine et Lily Koslow
Lily Koslow is a composer, pianist and vocalist currently based in New Haven, Connecticut. Drawing on a myriad of sources of inspiration, including surrealist literature, post-capitalist political theories, natural phenomena and technology, they attempt to express ideas that arouse listeners' curiosity while asking them to think about political, social and environmental issues. Aesthetically influenced by the notion of timbral lyricism, his work aims to reveal the poetic potential of sound through contrast and intensity using dynamic textures and vivid gestures. Lily studied composition with Jean Lesage at McGill and is now pursuing a master's degree in composition at Yale University.
Jules Bastin-Fontaine (born 2000) is a composer and tuba player originally from Quebec City and now based in Montreal . During his college studies in tuba, he studied composition with Yannick Plamondon at the Conservatoire de musique de Québec. In 2022, at the Montreal Conservatory of Music, he completed undergraduate degrees in these two disciplines in the classes of Jimmie LeBlanc (composition) and Pierre Beaudry (tuba). He is now pursuing a second university cycle in instrumental composition with Maxime McKinley and a first cycle in electroacoustic composition with Louis Dufort.
His music was awarded the “Relève VVA 2019” prize, awarded by E27 Musiques nouvelles (for Trio en hommage à Bruckner) and two prizes as part of the “SOCAN Foundation Competition for Young Composers” (for Trio en hommage à Bruckner [2019] and …cette route cette vallée désormais / tu ne les verras plus de sa présence illuminées… [2020]). During the Orford Virtual Academy 2020, his work L’heure joyeuse won the “Generation ECM+ / Orford Composition Prize”, allowing it to be performed during concerts of the “Generation 2020” tour. His piece Composition acousmatique I won 2nd prize in the JTTP 2023 competition.
His music has been performed by the Ensemble Contemporain de Montréal (ECM+), Ensemble Paramirabo, the Symphony Orchestra of the Conservatoire de musique de Montréal (OSCMM) under the direction of Tania Miller and the Ensemble MusiquAvenir, among others.
Program
par des chemins qui hantent les lointains
for violin and real-time processing (2023) - 10’
“By paths that haunt the distances” is the result of a collaborative creative process between Lily Koslow and Jules Bastin-Fontaine, exploring noise in resonance, the melodic treatment of timbre, feedback and textural and heterogeneous writing. From intimate supports to brutal explosions, the piece traverses a series of evolving and resonant virtual spaces. It was composed in the spring of 2023, in Montreal and Saint-Irénée.
Meggie Lacombe, violin
Meggie Lacombe began learning the violin at the age of 8 in the musical cradle of Lanaudière. She will continue her studies at the Montreal Conservatory of Music in the class of Johanne Arel until obtaining a master's degree in performance in May 2022.
Passionate about contemporary and experimental music, she is a member of the Mémoire Quartet, an emerging ensemble dedicated to 20th and 21st century repertoires. Seeking to introduce other artistic disciplines into her musical practice, Meggie studied dramaturgy and directing at UQAM, alongside her studies at the Conservatory. She is also a consultant, musician and performer for the production of Hercule et Naïade by the Éléphant collective presented in October 2023 at Arrière Scène.
Also active on the orchestral scene, Meggie is lead second violinist at the Orchestre Symphonique de la Côte-Nord and supernumerary for several ensembles including the Orchestre de l'Agora, the Orchestre Symphonique de l'Estuaire and the Orchestre Symphonique de Sherbrooke.
Since September 2022, she has been perfecting her skills at McGill University, pursuing an artist degree. Meggie plays on a magnificent Philippe Girardin violin from 2013 generously loaned by the Canimex company from Drumondville.
Lily Koslow
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Jules Bastin-Fontaine
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Meggie Lacombe
Jules Bastin-Fontaine
Meggie Lacombe
Julie Delisle
Julie Delisle is a composer, multidisciplinary researcher specializing in digital audio and flautist. She graduated from the Hochschule für Musik Freiburg and the Conservatoire de musique de Montréal, where she earned a Prize with Great Distinction.
In search of answers to her countless questions about playing and the functioning of her instruments, Julie Delisle studied acoustics, musical computing and musicology at the University of Montreal. Research on instrumental timbre from diverse perspectives (instrumental, historical, perceptual and computational) has profoundly transformed her way of understanding, listening, modulating and arranging sounds, and continues to influence her artistic approach. , also tinged with her interest in Chinese martial arts and mathematics.
Julie Delisle holds a doctorate in musicology from the University of Montreal and is a former postdoctoral fellow at the Music Perception and Cognition Laboratory at the Schulich School of Music (McGill University). She is currently collaborating on the research-creation project Sheng! (Collegium Musicae, Sorbonne University), dedicated to the study of Asian mouth organs, and is part of the scientific committee of the Ircam online journal ANALYSES, which aims to document the mixed music repertoire.
She is also active in the field of video game technologies, interactive audio and virtual and augmented reality. Her piece Pipa Aura Suichi (2023) won the InterUniversity Vivier Prize at the first Totem Électroacoustique Competition and 1st prize in the 2023 JTTP Competition.
Program
Monolithe
for Table of Babel and fixed media (2023) - 11’17”
The composition of this piece stems from a singular experience lived during an intercontinental flight, stuck between two deeply asleep passengers. I then decided to watch Stanley Kubric's 2001, A Space Odyssey (1968) for the first time in my life through the tiny screen attached to the back of the front seat. The discomfort of the situation and the immersion specific to the use of noise-canceling headphones increased tenfold the perceptual effect of the temporality deliberately slowed down by the director, who possibly wanted to amplify the perceptual oddities specific to the impression of 'weightlessness. Although the psychedelic sequences of the film had their effect, the whole thing made the question that tormented me unbearable: “But what is the point of this singular monolith?!” »
Monolithe makes the musician at the controls of the Table of Babel interact with a recording composed of instrumental derivatives sampled from this same instrument. The horizontality of the frames settles and swells, then gives way to a sudden verticality, then to parasitic attempts at communication and a visit to the divas. Then the rhythmic and melodic lines pile up against each other until the pilot regains control of the situation.
A special thank you to Louis Dufort for the guidance, to Vergil Sharkya’ for the mastering, to Guillaume Barrette for the technical help, as well as to Francis Leduc and Jean-François Laporte for the fabulous collaboration.
Julie Delisle is a composer, multidisciplinary researcher specializing in digital audio and flautist. She graduated from the Hochschule für Musik Freiburg and the Conservatoire de musique de Montréal, where she earned a Prize with Great Distinction.
In search of answers to her countless questions about playing and the functioning of her instruments, Julie Delisle studied acoustics, musical computing and musicology at the University of Montreal. Research on instrumental timbre from diverse perspectives (instrumental, historical, perceptual and computational) has profoundly transformed her way of understanding, listening, modulating and arranging sounds, and continues to influence her artistic approach. , also tinged with her interest in Chinese martial arts and mathematics.
Julie Delisle holds a doctorate in musicology from the University of Montreal and is a former postdoctoral fellow at the Music Perception and Cognition Laboratory at the Schulich School of Music (McGill University). She is currently collaborating on the research-creation project Sheng! (Collegium Musicae, Sorbonne University), dedicated to the study of Asian mouth organs, and is part of the scientific committee of the Ircam online journal ANALYSES, which aims to document the mixed music repertoire.
She is also active in the field of video game technologies, interactive audio and virtual and augmented reality. Her piece Pipa Aura Suichi (2023) won the InterUniversity Vivier Prize at the first Totem Électroacoustique Competition and 1st prize in the 2023 JTTP Competition.
Program
Monolithe
for Table of Babel and fixed media (2023) - 11’17”
The composition of this piece stems from a singular experience lived during an intercontinental flight, stuck between two deeply asleep passengers. I then decided to watch Stanley Kubric's 2001, A Space Odyssey (1968) for the first time in my life through the tiny screen attached to the back of the front seat. The discomfort of the situation and the immersion specific to the use of noise-canceling headphones increased tenfold the perceptual effect of the temporality deliberately slowed down by the director, who possibly wanted to amplify the perceptual oddities specific to the impression of 'weightlessness. Although the psychedelic sequences of the film had their effect, the whole thing made the question that tormented me unbearable: “But what is the point of this singular monolith?!” »
Monolithe makes the musician at the controls of the Table of Babel interact with a recording composed of instrumental derivatives sampled from this same instrument. The horizontality of the frames settles and swells, then gives way to a sudden verticality, then to parasitic attempts at communication and a visit to the divas. Then the rhythmic and melodic lines pile up against each other until the pilot regains control of the situation.
A special thank you to Louis Dufort for the guidance, to Vergil Sharkya’ for the mastering, to Guillaume Barrette for the technical help, as well as to Francis Leduc and Jean-François Laporte for the fabulous collaboration.
Julie Delisle
Philippe Macnab-Séguin
Philippe Macnab-Séguin is a composer of instrumental, electroacoustic and mixed music whose work aims to create a new musical language at the crossroads of popular music (in particular electronic music, jazz and metal) and contemporary classical music. His music is rhythmic, complex, and reflects his eclectic musical background as an electric guitarist in metal and jazz, his study of the music of Nancarrow, his lessons in konnakol (South Indian vocal percussion) with Ghatam Karthick, his experience in barbershop singing and arranging, and his study of hyperglitch music and production with producer Woulg (Greg Debicki). With producer Nicolas Gaumond, he forms the prog-pop duo Greetings From The Hole.
One of his main areas of research is auditory sonology, a method developed by the Norwegian composer Lasse Thoresen, which aims to transcribe, describe and analyze music as it is heard, without the support of a score and independently of style. He has given lessons to participants of all levels of musical training, often with his colleagues Dominique Lafortune and Gabriel Dufour-Laperrière. This research enormously nourishes his compositional work, rooting it in perceptual principles and allowing him to make inter-stylistic comparisons from the same conceptual framework.
He has received more than 20 grants and prizes for his work, including the Prix d'Europe, a BMI prize, four SOCAN prizes for young composers, as well as funding from CRSH and FRQSC. He is currently completing a doctorate in composition at McGill University under the direction of Jean Lesage, and has benefited from the mentorship of Denys Bouliane, Lasse Thoresen, Pierre Alexandre Tremblay, Matthew Shlomowitz, Philippe Leroux, Du Yun and Steve Takasugi, among others.
Program
Gone For Eggs
(2024) - 20’
"Just as life is gestated in the egg, in ancient healing rituals, initiates would take refuge in a cave or dark hole to "incubate" until a dream of healing caused them to be reborn into the higher world, in the same way as the chick hatches from the egg.
- The Book of Symbols, The Archive For Research In Archetypal Sybolism
Every night we experience a glimpse of death as we lose consciousness into the depths of sleep. Every morning we are reborn.
Gone For Eggs starts from this fundamental fact to explore the oscillation between day and night, consciousness and unconsciousness, life and death.
Philippe Macnab-Séguin is a composer of instrumental, electroacoustic and mixed music whose work aims to create a new musical language at the crossroads of popular music (in particular electronic music, jazz and metal) and contemporary classical music. His music is rhythmic, complex, and reflects his eclectic musical background as an electric guitarist in metal and jazz, his study of the music of Nancarrow, his lessons in konnakol (South Indian vocal percussion) with Ghatam Karthick, his experience in barbershop singing and arranging, and his study of hyperglitch music and production with producer Woulg (Greg Debicki). With producer Nicolas Gaumond, he forms the prog-pop duo Greetings From The Hole.
One of his main areas of research is auditory sonology, a method developed by the Norwegian composer Lasse Thoresen, which aims to transcribe, describe and analyze music as it is heard, without the support of a score and independently of style. He has given lessons to participants of all levels of musical training, often with his colleagues Dominique Lafortune and Gabriel Dufour-Laperrière. This research enormously nourishes his compositional work, rooting it in perceptual principles and allowing him to make inter-stylistic comparisons from the same conceptual framework.
He has received more than 20 grants and prizes for his work, including the Prix d'Europe, a BMI prize, four SOCAN prizes for young composers, as well as funding from CRSH and FRQSC. He is currently completing a doctorate in composition at McGill University under the direction of Jean Lesage, and has benefited from the mentorship of Denys Bouliane, Lasse Thoresen, Pierre Alexandre Tremblay, Matthew Shlomowitz, Philippe Leroux, Du Yun and Steve Takasugi, among others.
Program
Gone For Eggs
(2024) - 20’
"Just as life is gestated in the egg, in ancient healing rituals, initiates would take refuge in a cave or dark hole to "incubate" until a dream of healing caused them to be reborn into the higher world, in the same way as the chick hatches from the egg.
- The Book of Symbols, The Archive For Research In Archetypal Sybolism
Every night we experience a glimpse of death as we lose consciousness into the depths of sleep. Every morning we are reborn.
Gone For Eggs starts from this fundamental fact to explore the oscillation between day and night, consciousness and unconsciousness, life and death.
Philippe Macnab-Séguin
Alejandro Sajgalik
Alejandro Sajgalik is a composer and choreographer based in Montreal. His practice explores metaphysical uprooting and the captivating power of technology. After studying architecture, he created works combining contemporary dance, electroacoustic composition and dramaturgy inspired by epic and mysticism.
In Montreal, he presented his solos N’importe où hors du monde (2018), Cantos para los insaciables (2019), and Materia Prima (2022). His work is supported by the Canada Council for the Arts and the Conseil des arts et des lettres du Québec. He is currently studying electroacoustic composition at the Conservatoire de musique de Montréal with Louis Dufort.
Program
Novae I
Electroacoustic sonata for dismantled organ and voice (2024) - 11’
I breathe a second life into organ pipes recovered from a deconsecrated church in Coaticook, in Estrie. Freed from the weight of his past, the instrument and my voice form a counterpoint of fluid nervousness. Caught in the storm of time, I renew the sound material through my breath and my gestures to form lines of ecstatic life momentum. This piece is an ode to the potential for re-enchantment.
Novae I is part of my stage project Nova Express, a work for 6 dancers and organ pipes with electroacoustic music. The premiere will take place from November 7 to 10, 2024 at Tangente (Montreal).
Alejandro Sajgalik is a composer and choreographer based in Montreal. His practice explores metaphysical uprooting and the captivating power of technology. After studying architecture, he created works combining contemporary dance, electroacoustic composition and dramaturgy inspired by epic and mysticism.
In Montreal, he presented his solos N’importe où hors du monde (2018), Cantos para los insaciables (2019), and Materia Prima (2022). His work is supported by the Canada Council for the Arts and the Conseil des arts et des lettres du Québec. He is currently studying electroacoustic composition at the Conservatoire de musique de Montréal with Louis Dufort.
Program
Novae I
Electroacoustic sonata for dismantled organ and voice (2024) - 11’
I breathe a second life into organ pipes recovered from a deconsecrated church in Coaticook, in Estrie. Freed from the weight of his past, the instrument and my voice form a counterpoint of fluid nervousness. Caught in the storm of time, I renew the sound material through my breath and my gestures to form lines of ecstatic life momentum. This piece is an ode to the potential for re-enchantment.
Novae I is part of my stage project Nova Express, a work for 6 dancers and organ pipes with electroacoustic music. The premiere will take place from November 7 to 10, 2024 at Tangente (Montreal).
Alejandro Sajgalik