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Martin, Simon (w/ Quasar, Bozzini Quartet, Trio de guitares contemporain): Hommage a Leduc, Borduas (Collection QB)


Composer Simon Martin pays hommage to Quebec painters Ozias Leduc, Paul-Emile Borduas, and Jean-Paul Riopelle in contemplative works for each artist, performed by the ensembles Quatuor Bozzini, Quasar quatuor de saxophons, and Trio de guitares contemporain.
 

Price: $7.17
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Shipping Weight: 2.00 units

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product information:


UPC: 771028371624

Label: Collection QB
Catalog ID: CQB 1616
Squidco Product Code: 21680

Format: CD
Condition: New
Released: 2015
Country: Canada
Packaging: Cardboard Gatefold w/ Booklet
Recorded at the Eglise de Sainte-Theodosie, Calixa-Lavallee, in Quebec, Canada, on June 16th, 17th and 18th, 2015 by Amandine Pras.


Personnel:

Martin Simon-compositions

Clemens Merkel-violin

Alissa Cheung-violin

Stephane Bozzini-viola

Isabelle Bozzini-cello

Marie-Chantel Leclair

Mathieu Leclair

Abdre Leroux

Jean-Marc Bouchard

Jonathan Barriault

Simon Duchesene

Jerome Ducharme

Highlight an artist name or instrument above
and click here to Search
track listing:


1. L'heure mauve 11:11

2. Projections liberantes 11:12

3. Icebergs et Soleil de minuit - Quatuor en blanc 16:52

sample the album:






descriptions, reviews, &c.

"An inspiring visit of the exhibit Leduc, Borduas et le paysage de Saint-Hilaire, presented in 2005 by the Musee des beaux-arts de Mont-Saint-Hilaire, incited a desire to compose works paying hommage to these two painters as well as to Riopelle. The three artists share a student-teacher relationship and span more than a century of pictorial history in Quebec.

"L'heure mauve" crosses rhythmic pulsation with the vibration of open strings (that is without fingering), evoking an ecstatic feeling caused by light and its movement through the foliage of Mont Saint-Hilaire, which Leduc so loved. Or is it, in the distance, the church bell tower, decorated by its colours, that we hear resonate?

"Projections liberantes" begins with the sound of the musicians' breathing through the mouthpiece of their instrument. One hardly perceives the change of this steam which condenses into multiple sounds ("broken" and trembling sounds), a similar transition to the journey of "Borduas, who was the first to recognize himself in total darkness and to assume his true nakedness" (Pierre Vadebonceur). The music gradually reveals itself throughout the work until it explodes with a crash at the very end.

"Icebergs et Soleil de minuit - Quatuor en blanc" presents a series of contrasting sections. The work, however, remains bound by the continuous use of natural harmonics (strings lightly touched, rather than pressed), whose shrill timbre, pure and "white", elicits the cold and ice references in Riopelle's Iceberg series.

Beyond these aspects, by their suggested relationship with time, the three works beckon contemplation. The precedence of sound over the musical reflects my desire to directly portray nature."-Simon Martin


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