À quelle heure commence le temps? – Gilles Tremblay
from Wanmansho by Aventa Ensemble
about
Gilles Tremblay’s 1999 work À quelle heure commence le temps? for baritone, piano soloist and 15 instrumentalists, is based on the text of Quebec poet Bernard Lévy. The work was commissioned by Nouvel Ensemble Moderne (Montreal) with the assistance of the Canada Council for the Arts.
“Words, music. The words enter into the resonance. The musician will be further struck by certain words, certain ideas. Elucidation and commentary, the enchantment takes form (like Gregorian vocalisation and exaltation) establishing itself as another poem, a musical one, in counterpoint from to the first.
An initial reading highlights the important moments and the metaphysical aspect of the question: “when does time begin? At what hour? At what instant? At which first instant?” However, the drama unfolds progressively, in a parallel movement to the composition, to the limits of endurance, like an immense metaphor of our époque and transition into a new millennium; it is thus a navigation. At the very heart of this navigation-poem: shipwreck and death. However, the word “light” is engraved there (“light of the sea”) like an indelible desire. Its genesis is in the luminous splashes of the instrumental prelude radiating from the piano and especially at the end, a jet of rays, an epiphany, passionate as the pounding of waves.” – Gilles Tremblay
Further information: aventa.ca/gilles-tremblay/
“Words, music. The words enter into the resonance. The musician will be further struck by certain words, certain ideas. Elucidation and commentary, the enchantment takes form (like Gregorian vocalisation and exaltation) establishing itself as another poem, a musical one, in counterpoint from to the first.
An initial reading highlights the important moments and the metaphysical aspect of the question: “when does time begin? At what hour? At what instant? At which first instant?” However, the drama unfolds progressively, in a parallel movement to the composition, to the limits of endurance, like an immense metaphor of our époque and transition into a new millennium; it is thus a navigation. At the very heart of this navigation-poem: shipwreck and death. However, the word “light” is engraved there (“light of the sea”) like an indelible desire. Its genesis is in the luminous splashes of the instrumental prelude radiating from the piano and especially at the end, a jet of rays, an epiphany, passionate as the pounding of waves.” – Gilles Tremblay
Further information: aventa.ca/gilles-tremblay/
credits
from Wanmansho,
released October 1, 2021
One of Canada’s foremost composers, Gilles Tremblay traveled an exemplary route. The Quebec pianist and composer has never stopped pushing back the frontiers of his research. His contribution to contemporary music is remarkable, distinguished as it is by an exceptional open-mindedness and a keen awareness of the very nature of sound. Tremblay received his early music training in Montreal from Jocelyne Binet, Edmond Trudel and Gabriel Cusson; later on, he attended the Conservatoire de musique de Montréal where he studied piano with Germaine Malépart and composition with Claude Champagne. He pursued his studies in Paris with Olivier Messiaen, Yvonne Loriod, Maurice Martenot and Andrée Vaurabourg-Honegger, receiving a First Prize in musical analysis as well as a First Medal in ondes Martenot at the Conservatoire de Paris.
Upon his return to Quebec, Gilles Tremblay undertook numerous activities, dividing his time between teaching at the Conservatoire de musique du Québec and working for CBC radio. In spite of his busy schedule, he pursued his own research, composed music, received many commissions and dedicated much time to the sound installation for the Quebec Pavilion at Expo ’67, which won him the Calixa-Lavallée Prize. Major works include Fleuves (1976), Vers le Soleil (1978) and Compostelle I (1978), a tribute to Messiaen on his 70th birthday. Acclaimed for its richness of sound and aesthetics, Tremblay’s music has earned an international reputation and strongly influenced the development of music and contemporary art in Canada.
Vincent Ranallo brings vocal passion and precision to a vast repertoire, ranging from early Baroque to avant-garde, with a strong emphasis on the latter. A graduate from the Conservatoire de musique du Québec à Montréal, he studied with Marie Daveluy and Gilles Tremblay. He was awarded a Ph.D in voice performance from the Université de Montréal, studying under the supervision of Rosemarie Landry and Mark Pedrotti. Mr. Ranallo has performed with many leading ensembles including the McGill Chamber Orchestra, I Musici, Orchestre Métropolitain, ECM+, Aventa, SMCQ, KORÈ ensemble, Chants Libres and Les Voix Humaines.
With a reputation for superb performance and ambitious programming, Aventa has established itself as one of Canada’s leading contemporary music ensembles. Comprised of musicians who are passionate about new music and its place in our culture, Aventa pushes musical boundaries through diverse projects, collaboration and cultural exchange.
One of Canada’s foremost composers, Gilles Tremblay traveled an exemplary route. The Quebec pianist and composer has never stopped pushing back the frontiers of his research. His contribution to contemporary music is remarkable, distinguished as it is by an exceptional open-mindedness and a keen awareness of the very nature of sound. Tremblay received his early music training in Montreal from Jocelyne Binet, Edmond Trudel and Gabriel Cusson; later on, he attended the Conservatoire de musique de Montréal where he studied piano with Germaine Malépart and composition with Claude Champagne. He pursued his studies in Paris with Olivier Messiaen, Yvonne Loriod, Maurice Martenot and Andrée Vaurabourg-Honegger, receiving a First Prize in musical analysis as well as a First Medal in ondes Martenot at the Conservatoire de Paris.
Upon his return to Quebec, Gilles Tremblay undertook numerous activities, dividing his time between teaching at the Conservatoire de musique du Québec and working for CBC radio. In spite of his busy schedule, he pursued his own research, composed music, received many commissions and dedicated much time to the sound installation for the Quebec Pavilion at Expo ’67, which won him the Calixa-Lavallée Prize. Major works include Fleuves (1976), Vers le Soleil (1978) and Compostelle I (1978), a tribute to Messiaen on his 70th birthday. Acclaimed for its richness of sound and aesthetics, Tremblay’s music has earned an international reputation and strongly influenced the development of music and contemporary art in Canada.
Vincent Ranallo brings vocal passion and precision to a vast repertoire, ranging from early Baroque to avant-garde, with a strong emphasis on the latter. A graduate from the Conservatoire de musique du Québec à Montréal, he studied with Marie Daveluy and Gilles Tremblay. He was awarded a Ph.D in voice performance from the Université de Montréal, studying under the supervision of Rosemarie Landry and Mark Pedrotti. Mr. Ranallo has performed with many leading ensembles including the McGill Chamber Orchestra, I Musici, Orchestre Métropolitain, ECM+, Aventa, SMCQ, KORÈ ensemble, Chants Libres and Les Voix Humaines.
With a reputation for superb performance and ambitious programming, Aventa has established itself as one of Canada’s leading contemporary music ensembles. Comprised of musicians who are passionate about new music and its place in our culture, Aventa pushes musical boundaries through diverse projects, collaboration and cultural exchange.
license
all rights reserved
tags
about
Redshift Music Vancouver, British Columbia
Redshift was founded in Vancouver, Canada with a focus on championing the music of contemporary composers.
discography
-
Apr 2024 -
Apr 2024 -
Mar 2024 -
Mar 2024
contact / help
If you like Redshift Music, you may also like:
-
The Seasons Are Not Four
by Alex KozobolisA meditative set of free-flowing piano improvisations from the English/Greek composer.
go to album -
Moments Remixes
by Michael Vincent WallerThere’s a quiet beauty to this remix album of compositions by Michael Vincent Waller, with contributions from JLin, Prefuse 73, & more.
go to album -
A cycle of 9 duets, “Isolario” is by turns intricate, sparse, mysterious, and moving.
go to album -
Conversations in Ritual
by BalladesteThis new album from the contemporary classical duo was completely improvised.
go to album -
Imprints 1 & 2
by Simeon WalkerThese almost heartbreakingly gentle felted piano compositions have the delicacy and loveliness of slow-falling snow.
go to album -
Landscape Traces: New music for khaen, volume two
by Christopher AdlerThe khaen—a free-reed mouth organ from Laos and Northeast Thailand—comes to life on this compilation EP.
go to album -
Landvættirnar fjórar
by Guðmundur Steinn GunnarssonIcelandic composer Gudmundur Steinn Gunnarsson builds playful, experimental motifs around 13th-century mythological creatures.
go to album
