Productions SuperMusique Presents a Grand Unruly Concert

Une constellation de mutants [A Constellation of Mutants]

As part of Montréal/Nouvelles Musiques’ “Tribute Series” Claude Vivier

Wednesday the 2nd of April 2008, 8:30 pm at Espace Dell’Arte

40, E. Jean-Talon St., Montréal (Metro De Castelneau)
Admission: $20 regular / $15 artists, students & seniors
Pre-sale on Réseau Admission, 514-790-1245, 1 800-361-4594,
Info: (high resolution photos)

Give youth the creative music bug and get a 2-for-1 price (age 25 and under, available only at the door)

Montréal, Tuesday the 4th of March, 2008 — Devoted as ever to music in the margin of any conventionality, Productions SuperMusique (PSM) joins Montréal/Nouvelles Musiques’ “Tribute Series” to Claude Vivier and celebrates this creator…through creation, with a premiere night. Initiated by musician Danielle Palardy Roger, Une constellation de mutants [A Constellation of Mutants] will be PSM’s last event for the 2007/2008 season.

Mutant and hybrid music, deconstructed rock, improvisation, fragmented jazz, reinvented folk-lore, leaning cabaret, and noisy ambiences will be sharing the stage. Une constellation de mutants will feature four new through-composed and improvised works by well-known performing composers from the “musique actuelle” (creative music) scene. All works have been commissioned by Productions SuperMusique.

The extremely wild program will feature Pet, a music-and-poetry premiere by Michel F Côté on a text by George Bataille, scored for 11 instruments and narrator; a “Remix/Claude Vivier” for 4 electronic instruments by Diane Labrosse; ethuiá VI*, dedicated to Ensemble SuperMusique, for 10 instruments and soundtracks by Vancouver-based composer Giorgio Magnanensi, and; Quien sabe (La Niña) for 11 instruments and recorded voice, part two of Danielle Palardy Roger’s Little métis triptych.

This vitamin-enriched evening will be brilliantly performed by Ensemble SuperMusique: Michel F Côté, electronic percussion; Guido Del Fabbro, violin; Jean Derome, saxophones, flutes & objects; Joane Hétu, alto saxophone & voice; Bernard Falaise, electric guitar; Diane Labrosse, sampler; Pierre-Yves Martel, viola da gamba & doublebass; Jean René, viola; Danielle Palardy Roger, percussion; Alexandre St-Onge, electronics & electric bass; Pierre Tanguay, drums; Némo Venba, trumpet.

This will surely prove out to be the most turbulent event in the Vivier Series!

This concert is a presentation of Productions SuperMusique, in partnership with the Société de musique contemporaine du Québec, with the support of the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, the Conseil des arts de Montréal, and the SOCAN Foundation.

For press release, bios, high-res photos & archives, please visit:

Media: Marie Marais, Press Agent
514-845-2821 /

The Works

Pet, by Michel F Côté

Clearly, the world is purely parodic. What I mean is that each thing we look at is the parody of another thing, or the same thing under a deceiving guise. ” [Translation: François Couture]

A musical torment inspired by L’anus solaire by George Bataille (1897-1962), a text expressing Bataille’s main concerns: the inevitability of transgression and disorder “up to this extreme where sensual delight and disgust coincide and cancel each other…”

Mélancolie d’un lieu, by Diane Labrosse

[Homage to Claude Vivier]

Some music we slowly become accustomed to,
Others have an immediate impact upon us.
Et je reverrai cette ville étrange
(And I will see this strange city again)
had this effect on me:
something instantaneous,
like a déjà vu,
a family link,
a call from within.
Melancholia of a place
is an impressionistic rendering
of this emotion I felt. D.L.

ethuiá VI*, by Giorgio Magnanensi

Musical communication only exists
on a purely emotional level.
Emotionality is immanent,
expression is definitely linked to the instant,
instant is unpredictably transcendent.

Ethuiá*: it’s a mix of two words: a name of a plant (tuia) and a reference to "etude", the plant name metaphorically referes to an idea of arborescence, "etude" to an exercise of attention.

Quien sabe (La Niña), by Danielle Palardy Roger

Part two of the Little Métis triptych, a project built from Christopher Columbus’s three vessels and a song written by Juan del Encina circa 1492. Little Métis covers various métissages or cross-breedings that have transformed the music of today. This allegory consists in a sea journey that still leads us to a New World. The other two parts of Little Métis are Qui connaît (La Pinta), composed for Rimouski’s GGRIL, and Who Knows (La Santa-Maria), composed for the Ensemble contemporain de Montréal.

The Composers

Claude Vivier

I will travel to the constellation / of transformed beings / to discover the secret of real melody / and true harmony / the planet’s eyes will help me / discover soft colors and the dimensions of love / the mouth of sad moons / will teach me the differences and similarities / the ears of the outer reaches of the universe / will tell me how to listen / and you my love your eyes / will read my subtle thoughts / like the vessel for nimble monks in a civilized temple. — Claude Vivier — Text dated 6 October 1975, taken from the compositions notes for ORION. «Les écrits de Claude Vivier», Circuit, Claude Vivier, Vol. II, Nos 1-2, PDUM, p.123.

Claude Vivier was born in Montréal in 1948 and died in Paris in 1983. He was a pupil under Gilles Tremblay, Karlheinz Stockhausen and Paul Méfano, and the many travels he did afar has marked his work deeply. The mystery wich shrouds his personality, added to the extreme quality of his production, ensure a popular fascination to Vivier as well as a great place in canadian music’s history. Pulau Dewata ("Isle of the gods", in Balinese) bears the mark of Vivier’s trip in Bali, in 1977. As he explains in his notes, he "wanted to write a piece filled with Bali’s spirit: dance, rythm, but above all an explosion of obvious and simple life". No specific instrumentation was given on the original score: it was instead specified "for any combination of instruments".

Michel F Côté

Michel F. Côté is a percussionist and sound designer. He founded Bruire and has been working with the group, in all of its different forms, since 1989 (Akustica, 1990; Montréal Musique Actuelle, 1990; and the Festival International de Musique Actuelle de Victoriaville, 1993). He has collaborated on various recording, theater, film, and video projects (with Luc Bourdon, René Lussier, André Duchesne, Jerry Snell, and Robert Lepage) and has also hosted radio programs devoted to musique actuelle on the arts network of Radio-Canada. He has a number of recordings, including Les fleurs de Léo, L’Âme de l’objet, and Klaxon gueule.

Diane Labrosse

Working mainly with samplers, Diane Labrosse approaches music with unconventional sounds and turns noises into music. Since 1985, she has been performing regularly on the scenes of avant-garde and improvised music taking part in festivals in Europe, Japan, Australia, Canada and the USA. She has composed music for theatre director Robert Lepage, for dancers/choreographers Louise Bédard, Andrew Harwood and Crystal Pite as well as for ensembles from Montréal, Toronto and Vancouver. She has presented multi-media installations with Tura-ya-moya (Denmark), Theatre Cryptic (Scotland) and with the Canadian Music Centre. In June 2007, she created «Espèces en voie de disparition» (Endangered Species) an installation/performance based on the sound of obsolete objects. Her discography is made of more than thirty recordings, most of which can be found on the Montreal independent label Ambiances Magnétiques. She is co-artistic director of Productions SuperMusique since 1980.

Giorgio Magnanensi

Composer/conductor Giorgio Magnanensi has been residing in Canada since 1999. For several years now, he is devoting his career to new music. He is the artistic director of the Vancouver New Music Festival, and he currently teaches at the School of Music of the University of British Columbia. He has also taught at the Parma Music Conservatory and at the Accademia Musicale Chigiana in Siena. He is a member of the Gruppo di Ricerca par la Musica Contemporanea (or Contemporary Music Research Group) of the University of Bologna. As a conductor, he has directed Bologna’s Musica Attuale Ensemble and has been holding the baton for the Vancouver New Music Ensemble since 2000. Active in several other fields, Magnanensi uses a wide variety of materials, approaches, and musical languages, including electronics, sampling, and improvisation. He is a co-founder of the Musica Musicisti e Tecnologie electroacoustic studio in Milan. Finally, he has participated to many multimedia projects and worked with several artists, including Kees Boeke, Nanni Canale, François Houle, David Moss, Ron Samworth, Douglas Schmidt, and Walter Zanetti.

Danielle Palardy Roger

Her inimitable percussion style poured out speechlike with orchestraly various gestures accumulating over time into a complex field. Active on the Montreal “musique actuelle” scene since 1980, she co-founded the groups Justine, Wondeur Brass and Les Poules. She also instigated Ensemble SuperMusique. in addition to her close collaborators from the Ambiances Magnétiques crowd — Derome, Hétu, Labrosse, Tanguay and Tétreault, she has worked with DB Boyko, Christopher Butterfield, Nick Caloia, Christine Duncan, Lori Freedman, Fred Frith, Joëlle Léandre, Torsten Mueller, the VivaVoce Choir and the Quasar Sax Quartet, among others. She has composed music for the Ensemble Contemporain de Montréal and for Ensemble SuperMusique and She wrote a Harbour Symphony. Roger, as a versatile artist, also composed a musical tale, L’Oreille enflée and the oratorio Bruiducoeur, prières des infidèles. Palardy Roger has made several albums for the Ambiances Magnétiques label and she toured Canada, Europe and the United States on several occasions.

L’Ensemble SuperMusique

Founded by Danielle Palardy Roger in 1998, Ensemble SuperMusique is a shapeshifting ensemble solely devoted to performing “musique actuelle” and improvisation. ESM is one of the very few ensembles whose repertoire consists exclusively of “musique actuelle” works. Ensemble SuperMusique is always conducted by instrumentalist composers. The conductor is one of the ensemble’s performers and seldom stands at the rostrum in front of the orchestra. The composers sought out for Ensemble SuperMusique are all very active on the Canadian and global creative/improvised music scenes. Their scores can be written in graphic notation as much as classical notation. For some works or concepts, performers are given verbal instructions instead of scores.

The ensemble’s performers play an extremely important role and their improvising and performing skills are an essential asset. These instrumentalists are not necessarily asked to blend in with the ensemble. On the contrary, they must be seen as soloists and, in fact, the uniqueness of their work is often the reason why they have been asked to participate. These performers have a significant understanding of the language of “musique actuelle.” They are acknowledged as masters in that field. In the last few years, Productions SuperMusique’s artistic directors have invited young up-and-coming musicians to join Ensemble SuperMusique. Within Productions SuperMusique’s regular programming, Ensemble SuperMusique performs two types of concerts: programs devoted to a single composer and programs built around several composers (between 2 and 6 — these programs are often structured around a special theme or presented under the title CANEVAS). Productions SuperMusique organizes tours for Ensemble SuperMusique (Canada, USA, France). Last year, Productions SuperMusique associated Ensemble SuperMusique to a co-production between Danse-Cité and SuperMusique: Treize Lunes. This show required 10 improvising dancers and 10 musicians from Ensemble SuperMusique. The project was presented at the Monument-National and in 9 Maisons de la Culture.

Productions SuperMusique

Productions SuperMusique has been directed by composers/musicians Joane Hétu, Diane Labrosse and Danielle Palardy Roger for over 25 years. The organization plays a major role in the development of “musique actuelle,” creative music, noise music, improvised music, both in Canada and abroad. Although mainly focused on the creation, production and distribution of its artistic directors’ works, its mission also encompasses other Canadian creators and performers. In order to fulfill that mission, Productions SuperMusique has, among other actions, put together the Ensemble SuperMusique.

Une constellation de mutants [A Constellation of Mutants]

As part of Montréal/Nouvelles Musiques’ “Tribute Series” Claude Vivier
Wednesday the 2nd of April 2008, 8:30 pm at Espace Dell’Arte — 40, E. Jean-Talon St., Montréal (Metro De Castelneau)
Admission: $20 regular / $15 artists, students & seniors
Pre-sale on Réseau Admission, 514-790-1245, 1 800-361-4594,

News posted Thursday, March 6, 2008