Greffes (DVD-Audio Surround) Track listing detail

Givre

Monique Jean

  • Year of composition: 2011
  • Duration: 17:24
  • Instrumentation: fixed medium
  • Commission: France Jobin (i8u)

Stereo

ISRC CAD501210036

  • AAC, 320 kbps
  • MP3, 320 kbps
  • 48 kHz, 24 bits
  • 48 kHz, 32 bits

Surround 5.1

ISRC CAD501210031

  • Dolby Digital, 48 kHz, 24 bits
  • DTS, 48 kHz, 24 bits
  • 48 kHz, 24 bits
  • 48 kHz, 32 bits
  • PCM for Dolby Digital, 48 kHz, 24 bits
To Tedi Tafel

The month is March, and we are in a white, iridescent, timeless place. It could be the centre of an ice mass through which rays of sunlight run, gradually warming it up. Slowness, whiteness, the creaking sounds of thawing, the cracks. Givre came out of the Calendar project (www.calendarproject.ca), a collaboration with choreographer Tedi Tafel. This series of 12 site-specific performances spread across one year were inspired by the passing of seasons and the cycles of nature as they are experienced in the heart of the city. Each event was intimately related to the time of the year when it was presented.

The sound aspect of the whole project tries to bring forward different aspects of the act of listening. The intent was to create new contexts of perception through the transformation of what is familiar to us and to provide listeners with a new auditory experience, through actions that was at times minimal, at times immersive, and at times an unusual blend of concrete and abstract sounds — though always following an approach that focused on presence, length, and the act of listening. The artistic process consisted in stripping out and purifying, in order to get to what is essential.

[English translation: François Couture, vi-12]


Givre was realized in 2011 at the composer’s studio and premiered on November 17, 2011 during the Immerson 2 concert at Laboratoire des nouveaux médias of Oboro in Montréal (Québec). The piece was commissioned by France Jobin (i8u), curator of the concert.


Premiere

  • November 17, 2011, Immerson 2, Laboratoire nouveaux médias — Oboro, Montréal (Québec)

Ricochets

Monique Jean

  • Year of composition: 2006
  • Duration: 10:33
  • Instrumentation: tenor saxophone, processing and 4-channel fixed medium
  • Commission: Quasar, with support from the CCA

Stereo

ISRC CAD501210037

  • AAC, 320 kbps
  • MP3, 320 kbps
  • 48 kHz, 24 bits
  • 48 kHz, 32 bits

Surround 5.1

ISRC CAD501210032

  • Dolby Digital, 48 kHz, 24 bits
  • DTS, 48 kHz, 24 bits
  • 48 kHz, 24 bits
  • 48 kHz, 32 bits
  • PCM for Dolby Digital, 48 kHz, 24 bits

A sound is sent out and makes rings. It bounces off and its rebounds can be formal, or energetic, or anecdotal. The instrumental sound is bounced, in real-time treatment, then it spreads to the spaces of fixed sound. And, without lingering, we go from one rebound to the next.

This piece was inspired by a news story: a young boy went biking and drowned on a submerged segment of a bike trail. I was very close to that spot and I was made aware of the drama by the sound of helicopters close by. The ricochet interplays between instrumentalist and fixed sounds at the beginning, the sudden appearance of referential sounds, the final wave that brings the piece to a close are all elements more or less related to that event.

I heartfeltly thanks saxophonist André Leroux whose perseverance, total engagement and constant playfulness in the studio and in the creative process were a pure marvel.

[English translation: François Couture, vi-12]


Ricochets was realized in 2006 during a production and creation residency at PRIM (Montréal) and at the composer’s studio and premiered by André Leroux on November 1, 2006 during the Akousma (3) festival presented by Réseaux at the Studio Hydro-Québec of the Monument-National in Montréal (Québec). The piece was commissioned by Quasar with support from the Canada Council for the Arts (CCA).


Premiere

  • November 1, 2006, André Leroux, tenor saxophone • Akousma (3): Ondes porteuses, Studio Hydro-Québec — Monument-National, Montréal (Québec)

Misfit

Monique Jean

  • Year of composition: 2007
  • Duration: 11:38
  • Instrumentation: electric guitar, processing and stereo fixed medium
  • Commission: Tim Brady, with support from the CCA

Stereo

ISRC CAD501210038

  • AAC, 320 kbps
  • MP3, 320 kbps
  • 48 kHz, 24 bits
  • 48 kHz, 32 bits

Surround 5.1

ISRC CAD501210033

  • Dolby Digital, 48 kHz, 24 bits
  • DTS, 48 kHz, 24 bits
  • 48 kHz, 24 bits
  • 48 kHz, 32 bits
  • PCM for Dolby Digital, 48 kHz, 24 bits
To FB

In the background, there is schizophrenia, and more specifically the idea of a gap, of living one’s life in parallel to life. This work revolves around three key ideas: the emergence of parasitic voices, the repetition of obsessive rhythm patterns, and the ups and downs related to that state.

The composer thanks Tim Brady for introducing her to the world of the guitar — from guitar-making to selecting amplifiers — and to his interiorized and sophisticated playing.

[English translation: François Couture, vi-12]


Misfit was realized in 2007 at the composer’s studio and premiered by Tim Brady on March 21, 2007 at the Maison de la culture Ahuntsic-Cartierville in Montréal (Québec). The piece was commissioned by Tim Brady with support from the Canada Council for the Arts (CCA).


Premiere

  • March 21, 2007, Tim Brady, electric guitar • Concert, Maison de la culture Ahuntsic-Cartierville, Montréal (Québec)

low memory #3

Monique Jean

  • Year of composition: 2005
  • Duration: 11:46
  • Instrumentation: bass clarinet (B-flat clarinet), processing and stereo fixed medium
  • Commission: Lori Freedman, with support from the CCA

Stereo

ISRC CAD501210039

  • AAC, 320 kbps
  • MP3, 320 kbps
  • 48 kHz, 24 bits
  • 48 kHz, 32 bits

Surround 5.1

ISRC CAD501210034

  • Dolby Digital, 48 kHz, 24 bits
  • DTS, 48 kHz, 24 bits
  • 48 kHz, 24 bits
  • 48 kHz, 32 bits
  • PCM for Dolby Digital, 48 kHz, 24 bits

This work is about loosing one’s points of reference and the state of confusion caused by this, the attempts at reestablishing some kind of balance, and the return of rhythm.

Most of my mixed music works are written for a solo instrumentalist, live manipulation, and fixed sounds. In them, I try to highlight the uniqueness of each performer. Each performer’s gesture — the soundprint of a singularity — is magnified and broken down to its energetic principles, which then become the theme of the piece.

low memory #3 was made using the unique gestures and sounds of Lori Freedman, a fantastic clarinetist who fully engaged with the project, with passion, patience, and ardour. In this piece, I have tried to find energetic and gestural matches between instrumental sounds, live manipulations, and fixed sound sequences, so that these three stratas could develop autonomously but in a single direction to form continuously-developing sequences.

[English translation: François Couture, vi-12]


low memory #3 was realized in 2005 at the composer’s studio and premiered by Lori Freedman on April 19, 2005 at the Chapelle historique du Bon-Pasteur in Montréal (Québec). The piece was commissioned by Lori Freedman with support from the Canada Council for the Arts (CCA).


Premiere

  • April 19, 2005, Lori Freedman, clarinets • There, in Here, Chapelle historique du Bon-Pasteur, Montréal (Québec)

low memory #1

Monique Jean

  • Year of composition: 2000
  • Duration: 9:49
  • Instrumentation: 8-channel fixed medium
  • Commission: ACREQ, with support from the CALQ

Stereo

ISRC CAD501210040

  • AAC, 320 kbps
  • MP3, 320 kbps
  • 48 kHz, 24 bits
  • 48 kHz, 32 bits

Surround 5.1

ISRC CAD501210035

  • Dolby Digital, 48 kHz, 24 bits
  • DTS, 48 kHz, 24 bits
  • 48 kHz, 24 bits
  • 48 kHz, 32 bits
  • PCM for Dolby Digital, 48 kHz, 24 bits

It’s about space; about organic movements moving inside a sound mass, forming a ring whose centre has been hollowed out, out of which rumbles a pressure to rebuild a centre, the act of rebuilding being constantly thwarted and repeated. To draw an identity out of an organic mass in fusion. The tension between perimeter and centre is the tension of the mass, moving sound materials borne out of digital transformations and the point, represented by the instrumental sound.

[English translation: François Couture, vi-12]


low memory #1 was realized in 2000 at the Métamorphoses d’Orphée studio in Ohain (Belgium) and at the composer’s studio and premiered on September 2, 2000 during the Hautes tensions concert of the festival Elektra at Usine C in Montréal (Québec). The piece was commissioned by ACREQ with support from the Conseil des arts et des lettres du Québec (CALQ).


Premiere

  • September 2, 2000, Elektra 2: Hautes tensions, Usine C, Montréal (Québec)

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