The holiday season and its many musical programs include this year’s Mrs. Claus concert. Mezzo Kristin Hoff, soprano Jacqueline Woodley, and harpist Juliette Duguay will perform a selection of Christmas carols, including compositions by women, on Tuesday, December 16, at 5 p.m. in the magnificent Art Deco venue Le 9e. This venue is back in service, much to the delight of Montrealers. It was once the legendary dining room of the Eaton’s department store in downtown Montreal. The goal is to welcome families, parents and children to late afternoon concerts that are adapted to family life. Mère-Noël is an excellent opportunity to familiarize yourself with this format.

Kristin Hoff answers PAN M 360’s questions about this festive event. Our interviewee is the co-founder of Musique 3 Femmes (M3F), a contemporary opera company dedicated to “amplifying the work of female opera creators,” “to focus on promoting emerging female and non-binary composers and librettists,” and by “the collective desire to imagine opera through a new lens—a lens where female creators have the license to create innovative stories and define new worlds on the opera stage.”

TICKETS AND INFO HERE

Program
Cantique de Noël – A. Adam
Noël Blanc/White Christmas – I. Berlin
O nuit de paix/Night of Silence – F. Gruber/D. Kantor
Trois anges sont venus ce soir – A. Holmès, arr. G. Patenaude
Do you hear what I hear? – G. Shayne
He shall feed his flock/Come unto Him, Messiah – G.F. Handel
A la nanita – J. Ramón Gomis
Interlude, A Ceremony of Carols – B. Britten
Nana – M. de Falla
Mariae Wiegenlied – M. Reger
Greensleeves – traditionnel, arr. G. Patenaude
Marie-Noël – R. Charlebois
Happy Christmas – J. Lennon, arr. J. Patenaude
Petit Papa Noël – H. Martin, arr. G. Patenaude
Noël, c’est l’amour – N. Glanzberg, arr. G. Patenaude

Artists

Kristin Hoff, Mezzo-soprano and artistic director of OpéraM3F at the 9e Grande Salle, she possesses “an appealing clarity and emotional weight.” – New York Times
Jacqueline Woodley, soprano, “Urgent and compelling… an emotional journey” – The Washington Post
Juliette Duguay, harpist, 2025 European Prize winner in the String Category

Among the jewels of choral singing, one of the great specialties of English music in the classical repertoire, The Tallis Scholars are considered pioneers. A veritable institution in the United Kingdom, founded in 1973 by Peter Phillips, whom we interviewed in the US during a tour by this magnificent vocal ensemble, which will be stopping in Montreal on Saturday, December 13, at St. Andrew & St. Paul’s Church (3415 Redpath Street, corner of Sherbrooke, Montreal, QC, Canada).

So, for an intimate, spiritual, and enveloping Christmas program, here is a suggestion that cannot disappoint anyone who loves sacred music. Let Peter Phillips kindly explain it all to us!

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PAN M 360: You have devoted your life to it, achieving great mastery. You will soon be arriving in Montreal with your ensemble. You will be presenting a very interesting program of English sacred music from several eras, from Benjamin Britten to John Taverner.

Peter Phillips : Yes, old John Taverner, since there are two of them—there is also his contemporary, without an r (John Tavener, 1944–2013).

PAN M 360: How do you feel about your position as music director today in 2025, after 52 years of working with the same ensemble, which has probably changed a lot over the years?

Peter Phillips : As you say, we have been singing this music for 52 years, and I myself believe I have become a true expert in Renaissance polyphony. I do not claim to be a conductor of orchestras, soloists, or large choirs. I am a specialist in a very specific field, namely chamber vocal ensembles with 10 singers. In the same vein, I have had a career as a conductor for other ensembles, but I also have a career as a conductor of other chamber vocal ensembles, particularly in Europe.

PAN M 360: Over the years, how have you been able to refine this approach and make it more sensitive?

Peter Phillips : You know, there are different stages to go through. Even if it’s early or baroque music, we’ve reached certain levels of interpretation and understanding of this repertoire. We’ve achieved this by working tirelessly, trying to understand what the composers of early music did, rather than trying to force it into a modern mold.

People have often tried to make this vocal music sound like those 19th-century romantic ensembles, with vibrato, incorrect intonation, in short, a bad mix. Soloists have also been highlighted, when in fact, with this kind of music, the spotlight is not on any one person. It is a collective activity, like that of a string quartet.

When we are on stage, there are 10 singers in front of me, and we can embody a very sensitive, very small ensemble that speaks to you. It’s done on a small scale; it’s not huge music.

PAN M 360: It’s more subtle, more intimate, and more spiritual.

Peter Phillips : Yes.

PAN M 360: Since The Tallis Scholars have been around for 52 years, one imagines a multigenerational team. How do you manage this artistically?

Peter Phillips : I would say that my vision hasn’t changed fundamentally. What I wanted from these singers from the beginning is what I want today, even though this style is much better known now. So the younger performers who sing with us arrive with greater knowledge. They know what they want and what is expected of them.

When we started, we began with nothing. Today, our oldest singers are now very experienced and they continue. I dare to believe that they are happy, that they sincerely love this repertoire, otherwise they wouldn’t spend all their time devoted to it!

PAN M 360: So, let’s talk about the program for this North American tour. First, Missa Puer natus est nobis (A Mass: A Child Is Born to Us) by Thomas Tallis (1505-1585).

Peter Phillips : Of course, we chose this piece for a Christmas concert. It is also one of Tallis’ most beautiful works. Written for seven voices, this music is grandiose and designed for a grand occasion. It was performed at the wedding of King Philip II of Spain and Mary Tudor, Queen of England. It was an occasion for the composer, and Tallis composed music as grand as he could. Sometimes this work is accompanied by instruments, but that is not the case here.

PAN M 360: Yes. Now let’s talk about this work by William Byrd (1540-1623), Votive Mass of the Virgin, composed of five parts.

Peter Phillips : It’s a somewhat mismatched list because the first part (Ave maris stella) isn’t actually part of this mass. I included it in this program because it’s very beautiful and supports the rest of the works. Ave maris stella is obviously a reference to Mary, and all the pieces that follow, as the title suggests, are votive antiphons for the Virgin. This music by Byrd, who excelled in composing for small ensembles, unfolds like a puzzle whose small pieces gradually come together. And if you understand what is happening during the performance, you realize that it is very satisfying to sing this and also, of course, to listen to it.

PAN M 360: Let’s continue with the contemporary work by Matthew Martin (1976-), Salve Regina.

Peter Phillips : It’s an exciting project, commissioned by Columbia University. In my opinion, it’s a great work by Matthew Martin, a young British composer who knows us well. What’s great about him is that he understands this aesthetic for small vocal ensembles. And the thing about him is that he knows how to write for such an ensemble, but it’s not ordinary or normal. He provides an unusual score, consisting of four soprano parts, and then two alto parts below the sopranos, which creates a very special sound. A composer who wants to write for us has to understand this use of voices, and Matthew is capable of doing that.

PAN M 360: How does this work fit into the contemporary corpus?

Peter Phillips : Yes, it’s wonderfully tonal, but it can also be very dissonant! The idea here is not simply to sound intelligent, and even less to produce a work that has nothing to do with the others.

PAN M 360: Dissonance here is a tool, a means to an end, not an end in itself.

Peter Phillips :I think so! I find this contemporary style very compelling. I enjoy listening to it all the time. We don’t want to exclude difficult pieces and stick only to the “normal” harmonies that we also like. We also enjoy recent contributions and mix them in with the rest. We present this ancient and contemporary music as a whole.

PAN M 360: Let’s move on to the second work by Thomas Tallis on the program: Missa Puer natus est nobis – Sanctus et Agnus Dei.

Peter Phillips : When listening to this piece, you may wonder where the Credo is. Well, there is no Credo, because it has been lost. The other movements have been found, but the score for the Credo has never been recovered. I’m afraid there’s nothing we can do about it, unless a miracle happens and this piece of the score is hidden away in other ancient manuscripts that haven’t been analyzed in depth or haven’t been found yet. So it’s a challenge for the ensemble to play this work without the Credo.

PAN M 360: Very interesting! Early music specialists like you are also historians, archaeologists, and investigators!

Peter Phillips : Yes, you’re right. It’s a kind of wonderful detective work! When you play early or Baroque music, if you don’t like history, you shouldn’t work on this repertoire. But the most important thing is to love this music.

PAN M 360: Of course. But historical knowledge is part of the enjoyment and passion that leads to a deep understanding of the period in which this music was composed.

Peter Phillips : That’s absolutely right. Also, one of the most exciting aspects of this work is, in fact, that some parts have a seven-voice structure. That’s how the score was written, even though we’re missing a piece of it. So it’s the job of a modern person like you or me to fill in those missing notes.

PAN M 360: Absolutely! Now Benjamin Britten (1913-1976), the second modern composer on the program, and my favorite English composer, whose work A Hymn to the Virgin you will be playing.

Peter Phillips : It’s a central theme of this program. And also, it’s extremely beautiful. Apparently, Britten wrote this music when he was 16 years old. Like Mozart, he was already excellent at that young age! You know, England and the United Kingdom don’t have that many great composers.

PAN M 360: On the other hand, the present period is very prolific, and you can count on a fantastic tradition in choral music. And The Tallis Scholars are at the heart of this tradition.

Peter Phillips :Yes, it’s exciting, that’s true.

PAN m 360: So let’s move on to John Taverner (1490–1545) and his work Mater Christi.

Peter Phillips : Well, it’s an antiphony and also a prayer to the Virgin Mary. Antiphony is a musical technique in which two vocal subgroups respond to each other alternately and come together in chorus. Mater Christi is also a central theme of the concert and an unusual piece for England, as the work was begun when Catholicism was very much present. This sacred work is very elaborate and rich, and Taverner was particularly skilled in this style, which he later had to adapt to the Protestant Reformation. In my opinion, it is one of his most concise pieces. His genius is very evident in it. So let’s perform the score from before the Protestant Reformation, which Taverner had kept. Another interesting aspect is that this piece was composed for young boys or castrati, with very high parts and also low parts. This compositional technique has been lost over time, but we manage to keep it alive in a way. For the high parts, we had to develop appropriate techniques to render the score properly. It was a difficult challenge.

PAN M 360: As we said earlier, the resurgence of baroque music dates back half a century now. There is a much deeper, more advanced knowledge, I would say. It’s your whole life. You’ve discovered so many things!

Peter Phillips : Yes. The expertise is very different from what it was in the 1970s. There are more people practicing this art, more talent, more interest. In the beginning, there were people who were passionate about it, but not necessarily the best singers. Now that passion is complemented by education, training, and technical refinement. We have both: passion and virtuosity. And singers can work more, instead of pursuing a career in opera.

PAN M 360: Let us conclude with the Magnificat by John Nesbett (?-1488).

Peter Phillips : It’s a difficult piece to describe, but it’s very enjoyable to perform. That’s why we chose it! It’s worth noting that this work appears very early in The Eton Choirbook, which brings together a large number of works written during this specific period. I don’t know how to describe this work without you hearing it, but it has a style of music very similar to brass instruments, with fairly sharp cuts. It’s really fun to sing! It’s also a beautiful conclusion to this program.

If you’re in Quebec City on December 11th, there are still tickets available for this very special Christmas program curated by Bernard Labadie. It’s a series of Baroque Christmas concertos, some rustic, others naive, and still others spiritual. These works were originally recorded in 1993 on the album Simphonies des Noëls, which enjoyed considerable success internationally, hence its re-release. Baroque and pre-Baroque works by Charpentier, Torelli, Corrette, Pez, and Corelli will be performed to warm hearts and evoke memories of Christmases past. Laurent Patenaude, Director of Artistic Administration at Les Violons du Roy, explains this exceptional program.

This content was produced by PAN M 360 in partnership with La Vitrine, which is promoting this Violons du Roy program.

TICKETS AND INFO HERE

Program

M.-A. CHARPENTIER

• Noëls pour les instruments, H. 531, H. 534
• Nuit extrait de In Nativitatem Domini Canticum, H. 416

G. TORELLI

Concerto a 4 en sol mineur, op. 8 n° 6 In forma di Pastorale per il Santissimo Natale

M. CORRETTE

Sinfonia I sur des Noëls François et Etrangers

J.C. PEZ

Concerto pastorale en fa majeur

A. CORELLI

Concerto grosso en sol mineur, op. 6 n° 8 Fatto per la note di Natale

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This fall, Le Vent du Nord released Voisinages, a highly mature album where all aspects of their creative vision are respected in this flagship of Quebec traditional music: mastery of the traditional repertoire, inventive songwriting, and a modernization of both the repertoire and its performance. Moreover, a new member has shone within the quintet since Simon Beaudry’s departure: André “Dédé” Gagné has found his place and completes the lineup, which also includes Nicolas Boulerice, Olivier “Olo” Demers, André Brunet, and Réjean Brunet. This Friday, December 13, Le Vent du Nord plans to fill the Grand Théâtre de Québec to capacity as part of a tour that began last October and will continue until the end of 2026, interspersed with symphonic concerts, including those on December 18 in Drummondville and December 21 in Victoriaville, not to mention La Veillée de l’avant-veille on December 30 at Club Soda in Montreal.

Conducting a tribute to an album released before she was even born, and doing so three times in the same weekend (December 13 and 14, 2025) at Maison symphonique, with the Orchestre Métropolitain, is the challenge that young conductor Léa Moisan-Perrier, trained under Yannick Nézet-Séguin, among others, is about to take on. In the interview she granted me, Léa tells us about her connection to André’s music, the pleasure of conducting such an iconic piece as the album Neiges, and also tells us a little about the rest of the program for these concerts, almost all of which are sold out. Indeed, Neiges will be accompanied by several other pieces, ranging from a traditional concerto by Antoine Gratton to choral music by John Rutter and a few appropriate Christmas carols.

INFO AND TICKETS (IF ANY REMAIN!)

This content was produced by PAN M 360 in partnership with La Vitrine, which also shares information about this OM program.

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Certainly one of Canada’s finest concert pianists, Quebec’s David Jalbert completed his recording of the complete cycle of piano sonatas by Russian composer Sergei Prokofiev this past fall. For the third and final recording of this cycle on the Atma Classique label, Jalbert brings together three key works: Sonatas Nos. 8 and 9, as well as the Sarcasms, Op. 17. Since his early teens, Jalbert has dedicated himself to mastering Prokofiev’s sonatas, exploring their full pianistic richness. Here, he explains the nature of these works, their structure, their technical challenges, and their expressive range. PAN M 360 reached him at his home in the National Capital Region, where he is a full professor of piano at the University of Ottawa. David Jalbert also embodies this repertoire on stage: the first of 3 programs was given this fall at Salle Bourgie, two others are planned for March and June 2026.

TO BUY THE ALBUM FROM ATMA CLASSIQUE, CLICK HERE

TO ATTEND PROGRAM 2 OF THE PROKOFIEV CYCLE AT THE BOURGIE HALL ON MARCH 5, 2026, CLICK HERE

TO ATTEND PROGRAM 3 OF THE PROKOFIEV CYCLE AT THE BOURGIE HALL ON JUNE 3, 2026, CLICK HERE

The annual tradition of Handel’s Messiah by the Classical Orchestra of Montreal continues this year. The crypt of Saint Joseph’s Oratory will be occupied for the occasion, on Thursday, December 11, 2025, by the ensemble under the direction of its brand new musical director, Andrei Feher, as well as by soloists Jacqueline Woodley (soprano), Camila Montefusco (mezzo-soprano), Adam Luther (tenor), and Jamal Al Titi (baritone). Les Filles de l’île and Les Chantres Musiciens will join them to form the choir. I met with the young conductor Andrei Feher to talk about this Messiah, his first with the ensemble, but also one of his first as he conducted Handel’s masterpiece for the first time only a year ago.

INFO AND TICKETS FOR THE MESSIAH BY THE CLASSICAL ORCHESTRA OF MONTREAL AT THE CRYPT OF SAINT JOSEPH’S ORATORY, ON DECEMBER 11, 2025 AT 7:30 PM.

Interview in French

Fifty years ago, an iconic album of Quebec, and indeed international, pop was released. André Gagnon’s Neiges shattered sales records and remained in the Billboard top 10 for six months! Twenty-five musicians were in the studio (including Jean Carignan), in addition to the backing vocalists, including Renée Claude. As the Orchestre Métropolitain prepares to pay tribute to this little masterpiece of instrumental pop (with some choral parts), why not revisit the memories of one of the musicians who played on it, percussionist Robert Leroux? Those famous conga solos in “Wow”? That was him! At the time, Robert Leroux was a very young musician, primarily associated with classical and contemporary music (as he has been throughout his life), but contracts and gigs in pop and advertising music were also on his radar. Here is a look behind the scenes of André Gagnon’s album Neiges, with a privileged witness, one of the few still alive to talk about it.

INFORMATION AND TICKETS FOR THE ORCHESTRE MÉTROPOLITAIN CONCERTS IN HOMAGE TO ANDRÉ GAGNON’S NEIGES

PANM360: How did you come to participate in this recording?

Robert Leroux : They were short a percussionist, so they called me in. It was my first time working with André. I was replacing the guy who’d been working with him before. I was keen to do it because I knew André wrote interesting timpani parts. Later, André asked me to keep on and do the shows. It was such a success! Honestly, we musicians who were there weren’t expecting it. “Wow” was the driving force, and the funny thing is, it was the song that was the least ready when we went into the studio.

PANM360: How did it go?

Robert Leroux : That was the last piece André wanted to add, but he wasn’t sure what he wanted. He had the melody in his head, but not the rest. He asked us to try things out, and we fiddled around for a while. I was trying out rhythms on the congas, but it wasn’t working. And then, at some point, we found the right balance between my congas, Jean-Guy’s (Chapados) bass, and André’s driving keyboard part. That worked!

PANM360: Absolutely! The bassline is irresistible, and the congas are unforgettable! And recorded with such presence! They are brought to the forefront in a spectacular way.

Robert Leroux : Yes. The sound engineer, Pete (Pierre) Tessier, did a very, very good job. The timpani were also well recorded. I’ve often worked with him and I’ve always appreciated his work. But you know, this solo really isn’t difficult. I had suggested other, more complicated rhythms, but my colleagues didn’t like them. So we settled on the now well-known, very simple formula.

PANM360: Were you generally well prepared, with the music sheets in advance and everything?

Robert Leroux : Except for “Wow,” everything was ready, everything was well organized by André. He was very well prepared. We didn’t have the sheet music in advance, but it was on the music stands when we arrived. It was well organized.

PANM360: What did you and others think when you first saw this? What was the atmosphere like?

Robert Leroux : I don’t know about my colleagues, but for me, it was initially just another job. I’d arrive, set up, and play. But with André, the atmosphere was fantastic. We had so much fun. Later on, when he asked if I could play in one of the touring shows, if it fit my schedule, I gladly went. It wasn’t really my thing; I was more into contemporary music, even though I still often recorded commercials (with Dompierre or François Cousineau). But whenever I had the chance to go back with Dédé, I always accepted, it was just so enjoyable.

PANM360: Difficulty level, nothing to report?

Robert Leroux : No, the music was quite simple, and besides, André had meticulously prepared everything. The only one that required a bit more work was “Wow,” as I said. He hadn’t fully developed that one in his mind. It was still a work in progress. Ultimately, it became THE hit of the album.

PANM360: What is your perspective on this? And on the fact that 50 years later, the Orchestre Métropolitain is paying tribute to him?

Robert Leroux :We weren’t thinking about it at all back then, when we were recording. But in our line of work, there are often surprises like that. I can’t say I’m surprised, but I certainly wasn’t expecting so much success when I was playing the parts. The stars really aligned at that time. If I had known, I would have negotiated my contract differently! (Laughs) At the same time, I’m not complaining; we were all paid fairly, according to the going rates at the time.

PANM360: Any thoughts on this musical style?

Robert Leroux : It was in the air. At that time, there was this movement to mix classical and popular music. It manifested itself through this kind of sound. It’s perhaps the modern equivalent of neoclassicism. Of course, the two styles are quite different, but in the principle of classical music, finding a specific language to reach a very wide audience, there are parallels to be drawn.

That said, Neiges is a rather unique album in André’s discography. His true style was long, romantic melodies, and he would return to this in the 1980s, using many strings or just the piano, focusing on it until the end of his career. Nelligan also belongs to this lyrical vein. So, Neiges remains a very particular creation.

PANM360: Did you often play with him afterwards for shows?

Robert Leroux : Sometimes, yes. But I also had a career in contemporary and classical music, which meant that at one point, I was replaced by Luc Boivin, who stayed with André longer. But every time I went, I really enjoyed it. André was incredibly talented, and he also put on a great show for the audience. He had the soul of an entertainer. He even did a tap dance number at one point in the show.

PANM360: I didn’t know this side of him… This tribute from the Orchestre Métropolitain, what do you imagine?

Robert Leroux : I’m not entirely sure, but I’m very curious to see how they’re going to transform all of this.

——————————————————————————————————-

Montreal since 1973, he was Vice-Dean of Undergraduate Studies from 1985 to 1988, and Dean from 1988 to 1997. In 2007, he participated in the founding of the Sixtrum Percussion Ensemble, which we have often talked about here at PANM360.

Credits for the album Neiges, according to the website Québec Info Musique :

Musicians –

André Gagnon: piano, synthétiseur, piano électrique;

Mauricio Fuks: violin;

Michel Fauteux: drums;

Jean-Guy Chapados: bass;

Gilles Pinard: guitar;

Richard Ring: guitar;

Marcel Rousseau: electric piano;

Jean-François Roch: timbales;

Richard Beaudet: flute;

Robert Leroux: percussions, timbales;

Jean-Carignan: violin.

Chords –

first violins: Mauricio Fuks, Adolfo Bornstein, Reynald L’Archevêque, Pierre Jean Ireneusz Bogajewicz;

seconds violins: Mario Masella, Denise Sergent, Claude Hamel, Françine Bang, Ronald Taddeo;

altos: Marc Bélanger, Lorraine Desmarais, Charles Meinen, Sylvie Laville;

cellos: Jean-Luc Morin, Michael Kilburn, Kristina Melnyk.

Choir: Renée Claude, Chœur des étudiantes de l’École Normale de Musique.

Arrangements: André Gagnon

Directed by: André Gagnon, Pierre Tessier

Sound: Pierre Tessier

Mixing: Pierre Tessier

Studio: studio Son Québec

Production: Les Disques Star inc.

Pouch and booklet –

Graphic design: Marcel Cadieux;

Photos: Jean-Guy Thibodeau

Based at Studio Bell in Calgary, a venue that deserves to be better known in Eastern Canada, the National Music Centre opened a satellite space in Montreal’s Quartier des Spectacles in mid-November, next to the new ADISQ headquarters. At the official opening of the location on Wednesday, November 19, a mural by artist Mathieu Potvin, entitled Merci Beau Dommage, was unveiled.

Andrew Mosker, founder, president, and CEO of the CNM, is a Montreal native who was committed to building a lasting extension of the institution in his hometown, with a particular focus on Francophone culture. He believes that the CNM’s arrival in the area could strengthen the Centre’s relationships with creators, artists, businesses, industry partners, and the public in Quebec and Eastern Canada.

This initiative is based on ties forged over the years between the CNM and the Quebec music scene, starting with ADISQ, its immediate neighbour. More specifically, the Montreal location will host numerous activities showcasing the CNM’s capacity to present musical events, thematic exhibitions and other activities befitting such an institution whose purpose is to “stimulate the love, sharing and understanding of music, as well as preserve and celebrate the history of Canadian music from its premises at Studio Bell, in the heart of Calgary’s East Village.”

Since Andrew Mosker was in Montreal, as he is again this Saturday, December 6, in the context of a multigenerational show presented at the chic 9e, featuring in particular Montreal veteran Andy Kim in order to raise funds for sick children, Andrew Mosker granted this interview to PAN M 360.

More information about the CNM space

Andrew Mosker, Photo: Sylviane Robini

PAN M 360: First, let’s catch up a bit: how did it all start?

Andrew Mosker : In the early 2000s, I sold the idea to benefactors in Calgary. Patrons, therefore private funds. Today, about ten private foundations, mostly based in Western Canada, but also major groups like TD, RBC, and Power Corporation, are funding our project.

PAN M 360: What did you do before?

Andrew Mosker : I was, and still am, a pianist. I studied music at Grant MacEwan University because the music program had a pop, commercial, and jazz focus. It was a very good program. I followed that program to learn arranging, soloing, and improvisation.

Right after that, I started my career in Alberta; I wanted to be involved in performance. I tried that for a few years.

Then I realized I wanted to stay in the music industry, less as a performer and more by helping the ecosystem thrive. I met some benefactors, including the city of Calgary, which wanted to revitalize a run-down, abandoned neighborhood. There was also an old hotel there, the King Edward, whose bar was a home of the blues, a bit like Bistro à Jojo in Montreal. The city bought the building, and we participated in the beginning of the neighborhood’s revitalization plan. That was 25 years ago. At that time, I was traveling the world and noticed that Canada didn’t have a national music museum. So many Canadians couldn’t discover the works of Robert Charlebois, Leonard Cohen, Nickelback, Céline Dion—all these artists inducted into a space with exhibitions, collections, recording studios, and so on. The Junos had already considered it but hadn’t created the necessary conditions to make it happen.

PAN M 360: It’s still pretty special that it finally happened in Calgary. It was all because of you!

Andrew Mosker : Yes, because of me, but also because of the benefactors. We could also count on the support of Stephen Harper, who came from Alberta and who welcomed the creation of such a center in Calgary. In his inner circle, Stephen Harper counted several conservative music enthusiasts who wanted a center independent of the state. And the mayor at the time, David Bronconnier, wanted to revitalize the neglected East Village neighborhood, where the hotel was located. For us, the timing was perfect.

PAN M 360: The structure of such a cultural center is somewhat American-style, actually. More privately funded, independent of the state.

Andrew Mosker. Yes, exactly. But there are still government resources available—federal, municipal, and provincial. We renovated the King Eddy building, then built around it, expanding from 25,000 square feet to 160,000.

PAN M 360: And how did you bring together the Canadian music ecosystem to create the center?

Andrew Mosker : I convinced various organizations across the country, such as ADISQ and CARAS, to join us in creating this space dedicated to celebrating Canadian music. We reached agreements with these associations. Today, the CNM/NMC boasts five distinct spaces. We have a team of 37 full-time staff and numerous volunteers from across Canada.

PAN M 360: It is also a museum.

Andrew Mosker : Lively and interactive. Our permanent exhibitions account for 30% of our offerings, while our travelling exhibitions make up the remaining 70%, with 5 to 8 new exhibitions each year. The exhibitions vary in size, and we utilize 22 immersive galleries to accommodate them. We also have recording studios where you can even use instruments from our historical collection, such as a Keith Emerson Moog synthesizer or a Randy Bachman amplifier. Artists come here for residencies and to record. From Quebec, we have been visited by artists such as Diane Dufresne, Émile Bilodeau, Klô Pelgag, and Louis-Jean Cormier.

PAN M 360: The approach is multi-genre, then.

Andrew Mosker : Yes, it ranges from North American popular music to classical. The spirit of the center is inspired by American or European centers, such as the Cité de la Musique in Paris.

PAN M 360: And now you have an extension of the center in Montreal. It took an English-speaking Montrealer to fully grasp the issue!

Andrew Mosker :Exactly. I lived in Montreal for a good part of my life, and the French language greatly influenced my music career. I also know that Montreal’s music scene is still very creative and innovative. So, when I moved to Alberta and had the opportunity to build and improve the music ecosystem, I brought my Montreal experience with me.

Now, with this 3,000-square-foot space, I want to participate in the music ecosystem of Quebec and Eastern Canada. I want to build a bridge so that our Quebec counterparts understand what we do in Alberta and how we can bring everything we do, such as preserving our national musical history.

Even today, you know, there are many people in Canada who don’t realize that Oscar Peterson, Joni Mitchell, Robbie Robertson, Leonard Cohen, or Glenn Gould are Canadian artists. Music lovers should also be reminded of the contributions of Francophone artists like Beau Dommage, Charlebois, Dufresne, and others.

That too is a challenge.

The countdown is over for MikeZup: it’s time to hang up the mic and make way for the next generation, the rapper announced in an Instagram post, on the sidelines of the release of his latest project.

Rather than an impulsive act, this decision stems from a reflection that began several years ago. “In 2019, I promised myself that if I didn’t reach a certain level before I turned 30, I would have to consider moving on to something else,” he explains. Today, the artist has chosen to focus his energy on supporting the next generation of artists he is developing within his label, 630MG, a role in which he feels completely at home.

For his final hurrah, the thirty-something unveils Compte à Rebours (Countdown), a hard-hitting project—the most refined and accomplished of his career. Surrounded by a roster of key artists from his musical journey, the Saint-Michel native shines in a decidedly drill and trap universe. Reflecting his new life realities, MikeZup moves away somewhat from the raw gangsta rap that long defined his work, exploring lighter sounds, notably on the excellent track “Cavale” with Souldia.

With this final offering, he opens a last window onto a troubled, yet very real, life. True to form, the lyrics are powerful, genuine, and sincere. These forty minutes of music flow seamlessly, allowing him to take a grand bow.

A few hours before the release, PAN M 360 chatted with him about his recent social media announcement, the creation of Countdown, his future ambitions and much more.

PAN M 360: First of all, tell me about your social media post in which you announced that this is your last career project. What is the reason behind this decision?

MIKEZUP : I’d been thinking about it for a while. I turned 30 this year, and when I released MAUVAISE HUMEUR in 2019, I promised myself that if I didn’t reach a certain level in my career before I turned 30, I’d have to consider moving on. Since then, a lot has happened: I’ve started a label, I’m managing other artists… I have less time for myself, and I’m more focused on other people’s careers. And I really enjoy it.

PAN M 360: And precisely, what was this level you were aiming for at the time?

MIKEZUP : I would have liked to go to Europe. I did manage to get to a respectable point, but I would have preferred to leave Quebec and live 100% off my music. Today, I have to do more collaborations with other artists to make a living, and that’s okay too. But I think I’m going to focus more and more on my own artists. It’s a win-win situation.

PAN M 360: In your post, you state that it’s time to make way for the next generation. Where did this idea come from? Did your role within the label play a significant part in it?

MIKEZUP : Exactly. The artists I manage are all younger, in their 20s. When I started taking music seriously, I was about that age. Now, I know what to do and what to avoid. I know the mistakes I’ve made. I think I’m a good leader for the next generation.

PAN M 360: Let’s come back to that later. First, let’s talk about your new offering, Countdown. What is the narrative thread of this project?

MIKEZUP : Comptes à Rebours, the title alone announces the theme: this is my last album. The countdown is over. As I said, I set myself a deadline of 30, and here we are. The collaborations are mostly with people I’ve worked with in the past and whom I appreciate. It was a way of coming full circle with the artists who have been important in my journey.

PAN M 360: What made this project so significant that it could potentially be your last?

MIKEZUP : Unlike my other projects where I was very productive—I could record three or four albums in a year—this one took an enormous amount of time. We started in December 2024 and finished it last month. That had never happened to me before. I put my heart and soul into it. I like the result; it has a very fresh sound. Before, I sometimes used older tracks from my archives. Not this time. Everything is new. I’m proud of it.

PAN M 360: Which track are you most excited for your audience to discover?

MIKEZUP : I have two. First, “Pierre Tombale” with Izzy-S. This collaboration was highly anticipated. Throughout my career, people kept telling me to do a song with him, but it never happened. It’s finally the last song we recorded for the album. The sound is killer, and Izzy-S has a similar journey to mine. We both went through significant weight loss, so we made a solid gym beat.
And then there’s “Cavale” with Souldia. I love the vibe of that track. It’s a song that can be listened to anywhere and by anyone. I’d say those two.

PAN M 360: Does this collaboration with Souldia reflect the new sounds you are exploring on the album?

MIKEZUP : Yes, exactly. And even if I say this is my last album, I’ll continue making music here and there. I want to continue exploring these more mainstream sounds. All the harder stuff, gangsta rap, hardcore… I’m leaving that behind.

PAN M 360: And why do we one day feel the need to turn the page on this type of sound?

MIKEZUP : My children are growing up. That’s the main thing. My old songs reflected a lifestyle I no longer have. I’ve changed: I’ve moved on to other things, I’m more settled in my life. I’m a father. My children listen to my songs and are starting to understand what I’m saying. It makes them think. I love making music, but I want to make music that everyone can listen to.

PAN M 360: What word best summarizes the Compte à Rebours creation process?

MIKEZUP : Emotions. There were a lot of them. We had a few disagreements with the producers here and there—nothing serious—but there was a lot of logistics, a lot of adjustments. We sometimes redid a mix 15 times. We were meticulous. Details we would have overlooked before, we didn’t neglect this time.

PAN M 360: What would you say to MikeZup when he was starting out in the business?

MIKEZUP : When I started, I had no expectations, and I think that was the best way to make music. When you start having expectations, you inevitably end up being disappointed. When it became too serious and I had to sell albums to pay for my things, it started to stifle my creativity. If I could talk to myself, I’d say: keep going, just focus on making music. And if all else fails, make a backup plan so you can continue to create freely.

PAN M 360: What is your best career memory, as an artist?

MIKEZUP : There are so many. I’ve performed on big stages, I’ve collaborated with important figures in Quebec rap, people I listened to when I was little. My feature with Sans Pression, for example, was a defining moment in my career as an artist. He’s an artist I’ve listened to forever. It was symbolic, almost magical. I’ll always remember it.

PAN M 360: After the music, who is MikeZup? Does that scare you a little?

MIKEZUP : Yes, a little. I’m worried because I’ve been making music since I was 11. I’ve always been known as MikeZup the rapper. Now, it’s like I’m shedding that label to move on to something else… something I don’t know yet. But I tell myself that life has a way of working out. Yes, it creates stress, but it’s a positive kind of stress.

Photo Credit: JRDN PHOTOGRAPHY

Five times between December 17th and 20th, Fred Pellerin and Kent Nagano reunite for the seventh time at the Maison symphonique, presenting their seventh symphonic tale, a practice that has become a holiday tradition. Fred’s next story promises to be a new chapter in the joyful mythologizing of Saint-Élie-de-Caxton, a Mauricie village that has acquired a reputation comparable to Natashquan.

Here is the beginning of the narrative: “The story of the origin and founding of Saint-Élie-de-Caxton was long a mystery. What happened on the first day of the municipality’s existence? How did it become a village? The first three pages of the municipal archives having been torn out, the matter had always remained secret and shrouded in mystery. Today, thanks to numerous lively collections and cross-referencing of approximations, the truth is finally revealed. There was a world, a church steeple, a priest, and a widow… and, one day, a child with white hair. And the village was born!”

It will also be about nativity, the unexpected conception of a child without a known father… and an interaction between storytelling and the orchestra, serving Fred Pellerin but also Beethoven, Wagner, Hindemith, Berlioz, John Adams, Yuliya Zakharava, and even Jacques Michel! At home in his village, which has become legendary thanks to him, Fred Pellerin recounts this chapter of his symphonic adventure with Maestro Nagano.

This content was produced by PAN M 360 in partnership with La Vitrine, which is disseminating information about this OSM program.

Publicité panam

For its second concert of the season, the University of Montreal Orchestra (OUM) will focus on the instrumental families that make up an orchestra. Led by the bassoonist and associate professor at the Faculty of Music, the orchestra’s students, whose wind section is particularly prominent in this year’s ensemble, will respond to the intimate and dynamic interplay of the strings in a concert where the orchestra’s diverse colors will interact in varied instrumental dialogues. This is an opportunity for young musicians to listen to different timbres and pay attention to the interplay between their respective instruments and the others, which can take on a new perspective in works ranging from Dukas to Hindemith, Mendelssohn, Mozart, and Brahms.

With Alexandre Villemaire of PAN M 360, Mathieu Lussier discusses these elements as well as his role as an educator in the orchestra as a conductor for students.

Mendelssohn, Brahms et Hindemith :dialogues in color

Mathieu Lussier, conductor

Yukari Cousineau, alto (solo violin of the Metropolitan Orchestra)

Musical program

Wolfgang Amadeus Mozart
Divertimento en ré majeur, K.136

Felix Mendelssohn
Overture in C major for wind instruments, Op. 24

Paul Hindemith
Der Schwanendreher (Concerto pour alto)

I. Zwischen Berg und tiefem Tal (Entre montagne et vallée profonde)
II. Nun laube, Lindlein, laube ! (Maintenant couvre toi de feuilles, petit tilleul !)
III. Variations : Seid ihr nicht der Schwanendreher ? (N’êtes-vous pas le cuisinier chargé de rôtir le cygne ?)

Intermission

Paul Dukas
Fanfare pour précéder « La Péri »

Johannes Brahms
Sérénade n^o 2 en la majeur, op. 16

I. Allegro molto
II. Scherzo. Allegro non troppo – trio. Poco più moto
III. Adagio non troppo
IV. Menuetto I – Menuetto II
V. Scherzo. Allegro – Trio
VI. Rondo. Allegro

TICKETS AVAILABLE HERE