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Track listing detail

Hérésie ou les bas-reliefs du dogme

Jacques Tremblay

  • Year of composition: 1990
  • Duration: 21:31
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0702859366

Stereo

ISRC CAD509813330

  • 44,1 kHz, 16 bits

“Shaped by the reigning collective moral ideal, the heart of man has become a ‘cave of bandits,’ […] insofar as he is normally ‘adapted’ to his surroundings, the greatest follies, yes, the greatest infamies committed by his group will not bother him and will not disturb, in appearance, the calm of his soul, as long as his fellow citizens and peers believe in the high morality of the reigning social organization. ”

Carl Gustav Jung

This quote from Dialectic of the Self and of the Unconscious clearly defines the attitude I was questioning when I began this work. I found it unbelievable to see all the cruelties that man has committed in the name of God. I had found my subject.

The quotes I use form a series of historical reminders of these various abuses. From the Inquisition to preachers, from papal pirouettes to Saddam Hussein, the work is a statement of facts in which the dichotomy between the subject and the cause is visible. When the cause no longer ennobles or enriches the subject (the preacher), it shifts from idealism to materialism, from heart to reason, the latter becoming almost deified in a cult where cruelty becomes reasonable. The use of a mantra is a call to the memory of the essence of man.

‘Amaram Ham Maduram Ham’ means ‘I am blessed, I am immortal.’


Hérésie ou les bas-reliefs du dogme [Heresy or Dogma’s Bas-relief] was realized in 1990 in the studio of the Conservatoire de musique de Montréal and mixed at the composer’s studio. The work premiered in May 1990 at the Conservatoire de musique de Montréal. Hérésie ou les bas-reliefs du dogme was awarded Second Prize in the Hugh Le Caine Award of the SOCAN Foundation Awards for Young Composers (Canada, 1992). Thanks to Gisèle Poirier, Carroll Hoelscher, and Frédérique Hadoux.

Premiere

  • May 1990, Concert, Conservatoire de musique de Montréal, Montréal (Québec)

Awards

Composition

Mixing

Oaristys

Jacques Tremblay

  • Year of composition: 1991
  • Duration: 14:36
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0702859300

Stereo

ISRC CAD509813340

  • 44,1 kHz, 16 bits

To Gisèle

Eroticism is the theme of this work. Oaristys means love affair. The formal schematic of the work follows the stages of a hypothetical night of love. The work is divided into six movements.

L’appel du désir (The Call of Desire): This movement describes the awakening of the senses at the thought of an embrace, like the restless caress of a wave from water to skin. Excerpted from a saraband for cello by Bach, the quote recalls how in one era this musical form was a licentious, erotic — and forbidden — dancing song. Nô music is used here as a mythic and dramatic connotation, an evocation in sound of Japanese prints.

L’approche (The Approach): A tribute to Pierre Henry and Pierre Schaeffer in the form of a remake of the Érotica movement in their Symphonie pour un homme seul. Two beings come close, communicating their desire with laughter and its variations, insidious eloquence and intimist power. It is a game of approaches and false flights.

Étreintes et voluptés (Embraces and Sensuous Delight): A carousel of urges and sensual delirium, it is a furtive look into the eye of death, a gesture of initiation into the passion for life.

Pulsion animale (Animal Urges): The reign of instinct. Nothing in this movement resembles anything human. The animal side of man comes to life and shows all of its crudeness.

L’éclatement (Scattering): A celebration of laughter and oblivion, a nose thumbed at the death wish, where the bodies fall in glissandi to an accompaniment of conniving humor. It is the long-awaited moment when desire makes fun of gratification, constantly rejecting greyness for grace.

Désinence (Inflection): A long and drawn out finale, a last breath bringing us back to the intimacy of a couple. A return to the giggling dialogues of complicity, in which tension is dissolved with the ultimate release of bodies.


Oaristys was realized in 1991 at the studio of the Conservatoire de musique de Montréal, and premiered in May 1991 at the Conservatoire de musique de Montréal. The same year Oaristys was awarded Second Prize in the Hugh Le Caine Award of the SOCAN Foundation Awards for Young Composers (Canada, 1991). It won First Prize in the electroacoustic music category as well as the Canada Council for the Arts (CCA) Grand Prize at the 10th CBC National Competition for Young Composers (1992). It was selected for the 20th and 21st Bourges International Electroacoustic Music Competition (France, 1992, 1993).

Premiere

  • May 1991, Concert, Conservatoire de musique de Montréal, Montréal (Québec)

Awards

Composition

About this recording

This version was remixed at the composer’s studio.

Remixing

L’intrus au chapeau de spleen

Jacques Tremblay

  • Year of composition: 1992
  • Duration: 12:00
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0702859322

Stereo

ISRC CAD509813350

  • 44,1 kHz, 16 bits

A character: The unconscious, prowling and searching for a way to enter the fissured wall of memory. The unconscious, walking, trampling and breaking up the past, opening a door here, a window there, unveiling the garden plots of childhood.

A wild and unpredictable visitor, always lurking, he is the keeper of our monsters, those we have pushed back into oblivion. His cryptic and insidious voice whispers calls to memory. He acts on the conscience in the way that the information signal modulates the carrier wave. Elusive by nature, he intrigues and fascinates with allusions, charging the air like the sound of a church bell that colors the rhythm of the falling raindrops with reminders of time lost as it calls the faithful to prayer.


L’intrus au chapeau de spleen [The Intruder with the Spleen Hat] was realized in 1992 at the studio of the Conservatoire national de région de Lyon (France) and remixed in August 1996 at the composer’s studio. The work premiered on April 15, 1992 at the salle Rameau (Lyon, France). L’intrus au chapeau de spleen was selected for the 20th Bourges International Electroacoustic Music Competition (France, 1992).

Premiere

  • April 15, 1992, Concert, Salle Rameau, Lyon (Rhône, France)

Composition

Remixing

Rictus nocturne

Jacques Tremblay

  • Year of composition: 1992
  • Duration: 11:38
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • ISWC: T0702859333

Stereo

ISRC CAD509813360

  • 44,1 kHz, 16 bits

Rictus nocturne (Nocturnal Rictus) is divided into six movements, each one named after a jazz standard. It is a tribute to jazz musicians, to their spontaneity and their freedom. Each movement follows its own story and develops a compositional problem: montage; play-sequence; of density; of silence; and of sketched, improvised and edited sequences from object-instruments (samplers).

This work is like a jam session of the various electroacoustic techniques, aiming to express certain states of mind, from chamber music to another, more urban style.


Rictus nocturne was realized in 1992 at the studio of the Conservatoire national de région de Lyon (France), at the studios of the Groupe de recherches musicales (Ina-GRM, Paris) and the Groupe de musique vivante de Lyon (GMVL). The work premiered in June 1992 at the Salle Rameau (Lyon, France). Rictus nocturne was selected for the 21st Bourges International Electroacoustic Music Competition (France, 1993). Thanks to Arnaud Geffray, Lionel Marchetti and Bernard Fort.

Premiere

  • June 1992, Concert, Salle Rameau, Lyon (Rhône, France)

Composition

Jeu d’ondes

Jacques Tremblay

  • Year of composition: 1994
  • Duration: 3:03
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Société Radio-Canada (SRC)
  • ISWC: T0708739392

Stereo

ISRC CAD509813370

  • 44,1 kHz, 16 bits

The basic material for Jeu d’ondes (Wave Play) is a quote from Maurice Ravel’s Jeu d’eau and recordings of the different sounds found on a sailboat (the rustling of sails, creaking cables, clattering of winches…). The work is set in a kind of imaginary marina, where sailboats, passenger ships and pleasure crafts have met to inaugurate a new ship: the unsinkable FM network.

I have used quotes from radio broadcasts that bring to mind the first worries regarding the project to create an FM network which, with the passage of time, now make us smile, faced with this ex-future forever unveiled.


Jeu d’ondes was realized in September 1994 at the composer’s studio. It was commissioned by the Société Radio-Canada for the 20th anniversary of its FM network [now called Chaîne culturelle].

Composition

La robe nue

Jacques Tremblay

  • Year of composition: 1995
  • Duration: 14:06
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: Société Radio-Canada (SRC)
  • ISWC: T0702859446

Stereo

ISRC CAD509813380

  • 44,1 kHz, 16 bits

The design for this composition was inspired by the first eight paragraphs of Combray, the first book of Remembrances of Things Past, by Marcel Proust.

Faced with this masterly work by Proust, the solution is to approach the work as if it were a translation from one language to another, without quoting the text directly.

With successive re-readings — a kind of travel through time to find the story’s present — we understand that sound objects weave the fibres of a memory stripped bare. Whether a quartet or a horse, a train or a small bell, each sound emanates directly from the sound environment that comes to life in the text. The paragraphs divide and give the work its form.


La robe nue [The Naked Dress] was realized in the Fall of 1995 at the composer’s studio. It was commissioned by Radio-Canada’s FM network and premiered on December 23, 1995 during the radio show Le son électrisé produced by Georges Nicholson on Radio-Canada’s FM network. This work was selected for the 23rd Bourges International Electroacoustic Music Competition (France, 1996).

Premiere

  • December 23, 1995, Le son électrisé, Réseau FM de Radio-Canada, Canada

Composition