Ensemble SuperMusique — Est canadien 2013

Toronto — Kingston — Ottawa — St John’s — Halifax

L’Ensemble SuperMusique est sur la route cet automne. En effet, après une présence remarquée au Festival de jazz de Guelph en Ontario, voilà que nos instrumentistes-improvisateurs visitent les villes de Toronto, Kingston, Ottawa, St John’s et Halifax. L’ensemble participe à des festivals et à des séries de musiques dédiées à la musique nouvelle. Des rencontres de musiques improvisées avec des musiciens locaux sont de plus prévues ainsi que la présentation d’ateliers et de conférences. Les six improvisateurs de Y a du bruit dans ma cabane présentent un programme très variés où l’on retrouve jeux d’improvisation, consignes verbales et partitions graphiques.

  • vendredi 18 octobre 2013
    20h00

Présenté par The Music Gallery.

This year’s ensemble in residence is a cohort of Montrealers who have made an indelible contribution to the ongoing dialogue of improvisational practice around the world.

Founded in 1998, the ever-changing Ensemble SuperMusique is one of the few Canadian ensembles entirely devoted to Musique Actuelle: a punk, absurdist, DIY response, but playing with questions of language and identity that only could have come from Quebec. Different composers/musicians from the ensemble itself alternate as bandleaders, but very rarely conduct the ensemble outright. Their repertoire is comprised of works by leading composers from both Canada and around the world.

The individual musical achievements of Joane Hétu, Jean Derome, Danielle Palardy Roger, Diane Labrosse, Pierre Tanguay and Scott Thomson are too numerous to mention. The core of Ensemble SuperMusique is responsible for one of Canada’s foremost experimental labels, Ambiances Magnetiques (1982), which has grown into a music distributor, live event producer, and the Ensemble itself.

Within their compositions are all the hallmarks of Musique Actuelle, from graphic scores to traditionally notated ones. In certain cases, they resort to orally transmitted instructions. Quite often, they receive specific instructions not to blend in the ensemble’s sound; on the contrary, they are to be considered as soloists of the highest order.

The Music Gallery
197 John Street – Toronto (Ontario, Canada)

Programme

  • samedi 19 octobre 2013
    10h00

Atelier

X Avant New Music Festival VIII

Présenté par The Music Gallery.

Bring your instrument to the Music Gallery and dive into the principles and practices of Musique Actuelle. Joane Hétu, Danielle Palardy Roger and Jean Derome are your guides. Spaces are limited.

The Music Gallery
197 John Street – Toronto (Ontario, Canada)
  • samedi 19 octobre 2013
    20h00
Chalmers United Church
212 Barrie St – Kingston (Ontario, Canada)
  • dimanche 20 octobre 2013
    19h00
Club Saw
67, rue Nicholas – Ottawa (Ontario, Canada)
  • mardi 22 octobre 2013
    15h00 – 16h00
DF Cook Recital Hall – School of Music – Memorial University
230 Elizabeth Avenue – St John’s (Terre-Neuve-et-Labrador, Canada)
  • mardi 22 octobre 2013
    20h00
DF Cook Recital Hall – School of Music – Memorial University
230 Elizabeth Avenue – St John’s (Terre-Neuve-et-Labrador, Canada)
  • jeudi 24 octobre 2013
MacAloney Room – Dalhousie Arts Centre
6101 University Avenue – Halifax (Nouvelle-Écosse, Canada)
  • jeudi 24 octobre 2013
    19h30
MacAloney Room – Dalhousie Arts Centre
6101 University Avenue – Halifax (Nouvelle-Écosse, Canada)
  • vendredi 25 octobre 2013
    20h00
MacAloney Room – Dalhousie Arts Centre
6101 University Avenue – Halifax (Nouvelle-Écosse, Canada)
  • samedi 26 octobre 2013
    18h30
MacAloney Room – Dalhousie Arts Centre
6101 University Avenue – Halifax (Nouvelle-Écosse, Canada)
  • samedi 26 octobre 2013
    20h00
MacAloney Room – Dalhousie Arts Centre
6101 University Avenue – Halifax (Nouvelle-Écosse, Canada)

La presse en parle

Review

Brett Delmage, OttawaJazzScene.ca, 2 novembre 2013

The evening started with the first climax, delivered by Craig Pedersen in a solo trumpet performance. Pedersen then descended into quieter notes: much quieter, sculpted, breathy expressions from his trumpet, which turned up everyone’s attention. The limitations of Club SAW became more apparent, as his distinct statement descended below the level of the humming ventilation system for a good blow. And then it was over.

The music couldn’t descend from there and it didn’t try. After a short break, the main act, Ensemble SuperMusique, took the stage and turned it up again. These key improvisers and composers in Montreal’s scene and the two vintage drumsets, a turntable, a wind-up toy, vocal cords, two saxophones, and a trombone, brought a completely complementary sound with a lot of variety to the evening. Jean Derome’s Le fruit du hasard started with rolls of the dice prior to the performance; these inputs to pairs of musicians led them to play from two different compositions while finding ways to piece it all together.

These key improvisers and composers in Montréal’s scene […] brought a completely complementary sound with a lot of variety to the evening.

Review

Devin Hurd, Exclaim!, 19 octobre 2013

The opening piece of Ensemble SuperMusique’s first set was an exercise in extreme restraint. A group dynamic that includes two drummers constrained to quiet cymbal work. A turntablist working only with tightly controlled amounts of feedback. The musical texture featured two alto saxophones operating within a similarly constrained space — often playing without mouthpiece. A single muted trombone weaving its own drones into the overall mix.

It was a clear introduction to the aesthetic principles behind the enormously successful genre of musique actuelle — a movement that has brought international attention to the improvised music scene in Quebec. Ensemble SuperMusique’s two sets were a sampling of various kinds of compositional strategies used to shape group improvisation. It is an approach that favours pre-determined, formal constraints and rule-based systems over conducted, in-the-moment decisions.

Much of the material and sonorities draw upon other collectivist approaches found elsewhere. Yet the result is a uniquely French Canadian combination of these influences. Jean Derome’s use of hand-held toys and objects is similar to the Art Ensemble of Chicago’s use of “little instruments” with a sound that is closer to an Art Ensemble of Montreal. The collectivist nature of musique actuelle is itself similar Chicago’s AACM — possibly the only improvisation focused collective older than musique actuelle itself — with a distinctly different temperament shaping its sound. The sequencing of formal materials and focus on redirecting individual improvised elements has a clear ancestry in musique concrete’s manipulation of recorded sound — a trait not often associated with live improvised music.

The music on this particular evening was a thin sheen of sound that left plenty of space to hear the game theory operating behind it. It was music built upon the notion that beauty could be discovered, rather than deliberately engineered.

It was music built upon the notion that beauty could be discovered, rather than deliberately engineered.