In 2003, British composer Will Todd (b. 1970) wrote a spectacular jazz choral work: Mass in Blue. Originally written for soloist, choir and big band, it will be performed for a rare occurrence in Quebec at Place des Arts’ Cinquième salle on Sunday, May 19 at 1pm. For the occasion, it will be performed in a more chamber version, but just as exciting, featuring a jazz quartet (piano, sax, double bass and drums) and a classical soprano as soloist. The hybrid, resolutely solar work, is extremely popular, though difficult to stage as it requires first-rate performers, well grounded in their jazz improvisatory impulses, but also in a need for classical technical rigor. A challenge taken up by young choral conductor Lorenzo Somma, recently seen as musical and choral director in productions such as Les Choristes and Hair. I caught up with the friendly musician to find out more about this work, which makes for a memorable listening experience, trust me.
She plays the morin khuur, an instrument also known as the “horse-head fiddle”, because its scroll is traditionally carved like an equine head. Some also compare it to a kind of cello from the Far East, but this is reductive, as Uuriintuya Khalivan explains in my interview with her. Although it has certain similarities, and is played in a similar position and with a bow, its sound characteristics are quite different. The young Montreal-based artist will be sharing a concert with Iranian Sadaf Amini on the santur. A unique encounter, perhaps even a world premiere, this will be the result of a creative residency supported by the Centre des Musiciens du Monde. The artist will be performing at the Festival du Centre des Musiciens du Monde. I invite you to listen HERE to the interview I conducted with Frédéric Léotar, Co-founder and General Manager of the Centre, who talks in detail about the festival, whose 7th edition is entitled Les routes de la soie au féminin.
Pan M 360 : Hello Uuriintuya, What is your musical background?
Uuriintuya Khalivan : I come from the Halivan clan of the Barag tribe in Mongolia. I graduated from the Central University for Nationalities in China in 2010, majoring in music performance. I worked as a solo morin khuur performer in the Chinese Coal Mine Art Troupe for 12 years.
Pan M 360 : How did you first discover this instrument, the morinkhuur?
Uuriintuya Khalivan : My father is a poet, writer, and also a journalist for our local newspaper. When I was 12 years old, he went to attend a conference in another city, and when he returned, he gave me a gift. It was a morin khuur.
Pan M 360 : So what is the morin khuur? Where does it come from?
Uuriintuya Khalivan : It is an instrument in the family of bowed string instruments. It is also referred to as the ‘’Horesehead fiddle’’ because, as you can see, it always has a carved wooden horse head at the top.
Before modern improvements to the instrument, many materials extracted from horses were used in the construction of the morin khuur, including strings made from horsehair and the resonator box covered with horsehide.
There is a legend on the grasslands about the morin khuur: There was a young Mongolian man named Suhe, who had a beloved horse that they grew up together with. This horse was exceptional, winning many horse races, which stirred jealousy in others. Unfortunately, one day, his horse was secretly shot and killed, leaving him heartbroken. That night, he dreamt of his horse, which said to him: “Please use my skull, my bones, and my tail to make an instrument. When you miss me, play it.”
Of course, researchers document that the morin khuur dates back to around the 3rd century BCE among the Donghu people. But I prefer to tell the legendary story.
Pan M 360 : Can we compare it to a form of western cello?
Uuriintuya Khalivan : Certainly, they are both bowed string instruments. In terms of sound impression, there have been Western journalists who referred to the morin khuur as the “Eastern cello,” but this is somewhat one-sided. Perhaps these journalists only heard a certain style of monophonic performance on the morin khuur, which may have some tonal similarities to the cello. However, the morin khuur also has overtone techniques, which are quite unique.
In terms of instrument construction, they are completely different. The resonator box of the morin khuur is smaller compared to the cello, and the morin khuur has two sets of strings (the outer set has 110 strings, and the inner set has 90 strings), with 5 different tuning methods.
These two instruments have different ranges and frequencies.
Pan M 360 : What is the importance of this instrument in Mongolian culture?
Uuriintuya Khalivan : The morin khuur in Mongolian culture is not just a musical instrument or an object : it carries rich cultural and spiritual significance. It holds profound meaning in the lives of Mongolian people, seen as a bridge connecting humans with nature and the spiritual realm.
First, let me give you an example: In Mongolia, there is a morin khuur known as the “National Master’s Morin Khuur,” which is played by the most outstanding performers during national celebrations. I haven’t heard of any similar tradition in other countries.
Furthermore, the morin khuur holds significant importance in the daily lives of Mongolian people. As an ancient traditional instrument, it is regarded as a sacred item capable of bringing good luck and protection to families. Therefore, even if there is no one in the household who can play the morin khuur, it is often kept at home as a sacred object, serving as a symbol of divine blessing and family well-being.
The morin khuur in Mongolian culture is not merely a musical instrument, it is a symbol, a belief, carrying the emotional and ideological values of the Mongolian people towards life, nature, and tradition.
Pan M 360 : Are there many people playing it in Mongolia?
Uuriintuya Khalivan : In the past century, due to global peace, there has been a great opportunity for the development of traditional culture. Thanks to the efforts of predecessors, the appreciation from audiences, and the dedication of composers, more and more people are learning to play the morin khuur.
Nowadays, the performance forms of the morin khuur are not limited to solo performances. There are also chamber music duets, quartets, and even professional symphonic orchestras with morin khuur sections.
In Mongolia, every three years, there is an international morin khuur competition proposed by the president. Because Mongolians have migrated to various parts of the world in recent years, international competitions are now held every three years in China, Europe, and the closest United States as well.
Pan M 360 : When did you come to Canada and why?
Uuriintuya Khalivan : I came to Montreal in the summer of 2018 with my family for tourism. After the trip, I had many reflections, so six months later, I came to Montreal again.
Pan M 360 : What made you choose Montreal now?
Uuriintuya Khalivan : I enjoy traveling to unfamiliar places and have visited various countries in the United States and Europe for work. When I traveled to Montreal in 2018, I found myself asking strangers for directions when I got lost. I noticed that people spoke many languages : most spoke French, and if I couldn’t understand, they would switch to English, and sometimes even switch to other languages when conversing with their companions. As a music professional, this auditory novelty and stimulation were quite exciting for me, and I loved the feeling of exploring the unknown. This is what makes Montreal truly unique.
During that trip, a museum left a profound impression on me as it narrated a story. The story depicted a moment when a great flood was about to engulf the city, and a missionary erected a cross atop a hill and began to pray. Miraculously, the flood receded after the prayer. This cultural narrative instilled in me a sense of sacred reverence, something I hadn’t experienced elsewhere. Whenever I see or pass by Mount Royal, I am reminded of it.
Montreal also hosts year-round music festivals and art exhibitions. It’s inclusive, diverse, friendly, and harmonious.
This city makes me feel spiritually serene, as if it’s under divine protection. Moreover, it ignites my inner curiosity and provides daily opportunities for self-enrichment and learning. I believe Montreal can make me become stronger and more enriched, hence my deep affection for this city.
Pan M 360 : What do you think of the musical opportunities in Montreal?
Uuriintuya Khalivan : The music opportunities in Montreal are vast and diverse, waiting for me to explore. From community performances to concerts in music halls, there’s a wide range of genres including traditional, electronic, experimental, avant-garde, and ethnic music. Each genre presents a new challenge, making the exploration of the unknown truly exhilarating.
Audiences in this city come from all over the world, with open-minded tastes appreciating various kinds of music. It’s worth mentioning that they offer the warmest encouragement and the most enthusiastic applause.
Pan M 360 : Do you play mostly traditional music? What kind of other music do you like, or what music influences you?
Uuriintuya Khalivan : It’s mainly traditional, but I’ve also experimented with various styles such as live musicals, experimental, metal, pop, and more. As a professional in the music industry, I must listen to a wide variety of music. When I was young and learning the violin, I listened to a lot of classical music, such as Chopin, Tchaikovsky, and Bach. Later, when I started learning the morin khuur, I immersed myself in traditional music, including long songs and throat singing. As I grew older, during my teenage years and college, like many peers, I listened to heavy metal, rock, and rap. After entering the workforce, I began exploring jazz, experimental music, and electronic music from France. Before coming to Montreal, I knew about Leonard Cohen and Céline Dion, but my French teacher introduced me to local Quebec folk songs, such as Gilles Vigneault’s “Jack Monoloy”. I’m actually more interested in contemplating the creative motivations behind music and the emotions that can’t be expressed in words.
Pan M 360 : Tell me about your upcoming concert with Sadaf Amini. What are you going to play?
Uuriintuya Khalivan : The theme of our performance this time is the Silk Road. In fact, whether in ancient times or modern times, we all live on the same planet. We have many similarities and many differences. Through the language of music, from unfamiliarity to familiarity, from the grasslands to the deserts, we have tacitly created many wonderful imaginations.
Pan M 360 : What do you think of the collaboration with her?
Uuriintuya Khalivan : Sadaf is an extremely mature performer, meticulous in her work, and full of imagination. In fact, my English may not accurately convey my true intent, but our communication is very fast and effective. When she first played the Santur instrument in front of me, I was impressed by her perfect performance. I am honored to have the opportunity to collaborate with such a perfect professional musician.
For the morin khuur, this marks the first-ever ensemble with the Santur instrument in history. I’d call it a perfect exploration, and we’re all looking forward to it.
Pan M 360 : What do you think of the Centre des Musiciens du Monde (CMM)?
Uuriintuya Khalivan : It is a highly valuable institution. It provides a platform for musicians to interact, learn, and collaborate with each other. By organizing various music events, workshops, and performances, it facilitates communication and understanding between different cultures. This plays a crucial role in advancing the development and dissemination of world music. Additionally, the CMM can offer resources and support to musicians, helping them further develop their talents and showcase their work on the international stage. Overall, the CMM plays a significant role in promoting musical cultural diversity and enhancing global music exchange.
Pan M 360 : What are your projects in the coming months, and years?
Uuriintuya Khalivan :I plan to continue participating in and supporting various activities and projects of the CMM. Next month, there will be a concert at the CMM featuring Mongolian music. In August, as in previous years, I expect to participate in the Orientalys festival held at the Old Port, which is a project showcasing Mongolian culture organized by the Canadian Mongolian Cultural Association. Additionally, I am applying for the Quebec Skilled Worker Program in Montreal and hope to obtain permanent residency. As the only musician in Canada playing the morin khuur, I aim to expand my musical knowledge and skills by applying to study composition at the University of Montreal’s music school. I will continue to strive to showcase my music on the international stage, collaborate with other musicians, and seek opportunities for advancement. Furthermore, I have been involved in a music education project aimed at sharing my experience and knowledge to help more people interested in learning to play the morin khuur. Overall, I will persistently pursue the development and innovation of music and contribute to the flourishing of diverse musical culture.
Montreal’s Centre des Musiciens du Monde (World Musicians’ Center) is now in the 7th year of its annual festival. This year, it’s the Silk Road, or rather Silk Roads, that we’re invited to travel upon, and with some women who pay tribute to it through their music and their vast talent. On May 16, 17 and 18, we’ll be treated to unique encounters between Mongolia and Iran, ancestral Turkey and Western chamber music, China, Baluchistan and more. So many concerts that it would be highly unlikely to encounter anywhere else in the world, because so unique is the Centre in its category on the planet, and it is generating a ripple effect that pushes more and more talented artists to choose Montreal to realize their musical dreams and open up their art to all kinds of other creative perspectives. In this regard, read the interview I conducted HERE with Uuriintuya Khalivan, a young musician from Mongolia and player of the morin khuur, the country’s traditional instrument, who has recently settled in our cultural metropolis.
From 17 to 31 May, Francis Choinière and his Orchestre FILMharmonique will be paying a heartfelt, even epic, tribute to Hollywood composer John Williams. From Montreal to Toronto, via Quebec City and Trois-Rivières, music lovers and film buffs will have the pleasure of reliving the thrills that Williams’ symphonic scores have probably given them. Star Wars, Harry Potter, Schnidler’s List, Jaws, E.T., Jurassic Park and many more will follow under the baton of conductor Choinière. I spoke to Francis about the music of John Williams and what it means to the musical world in general and to him in particular.
In our little corner of the Montreal alternative scene, the announcement that Corridor would be signing with the prestigious American label Sub Pop in 2019 was greeted with a satisfaction tinged with pride. By becoming the first French-language band (next to Les Thugs from France) to join the ranks of this iconic Seattle-based label, this recognition has fully affirmed the status of French-language independent music on the international scene.The album Junior, which followed this announcement, emerged from an intense creative process, punctuated by a mad rush in the studio where everything went together like dominoes.
It’s often when you lose balance that you learn to keep your feet on the ground. As a result, Jonathan Robert (guitar, vocals), Dominic Berthiaume (bass, vocals), Julien Bakvis (drums), and Samuel Gougoux (multi-instrumentalist) decided to change direction, adopting a more patient approach and breaking with the intensity of the work that had marked their previous opus.
Over the following years, the four musicians meticulously refined their compositions, shaping them like collages on Ableton, while exploring new ideas remotely with their co-producer Joojoo Ashworth. Samuel Gougoux’s expertise in the electronic sphere added a new dimension to the Mimi album while preserving the post-punk essence, with its dynamic guitars, soaring synthesizers, and stripped-down analog identity.
The result of this period of reflection is a heartfelt account of the realities of life as an artist, exposing the challenges of surviving in the music industry and the difficulties of self-promotion in the digital age. It’s also an authentic meditation on the lonely moments when faced with the naked vision of one’s own adult life.
Ahead of their European tour, the band kindly granted PAN M 360 an interview.
PAN M 360: Your album Junior was composed in a few weeks, in a sort of rush, whereas with Mimi you were able to take your time. The album was created as a collage of ideas, how did this process take shape?
Jonathan Robert: In a way, the album was a reaction to what we’d done in the past. Instead of persevering in one direction, we wanted to go further in the development of the songs. We recorded a sort of library of ideas which we then put together on Ableton, a bit like an electronic artist would have done. Most of the songs are collages. For example, the song “Mourir Demain” is made up of four elements from different periods over three years. We really approached it as a day job. The evening jams with the day jobs just wouldn’t bring the same energy as it used to.
PAN M 360: Speaking of jobs, the song “Mon Argent” highlights the struggle for artists to make a living in the music industry. We can easily have this fantasy that musicians like you, signed to labels such as Sub Pop, manage to make a living from their music. How do you actually go about earning a living as a musician?
Jonathan Robert: We manage to make a living from it sporadically, when we tour for example. But the wheel has to keep turning, it’s quite challenging to be constantly touring and producing. The two have to alternate, like a cycle. There isn’t the income there used to be. So you have to find it elsewhere. We’re not making big news, we’re not Drake, let’s say. When things are a bit slow with the group, I put my energy into my solo project Jonathan Personne. I also take on illustration and graphic design contracts and direct video clips. Julien has his own screen printing business with his company. During the making of this album, we were all doing work outside the group. As you get older, you reach a more conflicted point where you wonder whether you want to make music or something else. For most of us, we manage to do things related to music, as much as possible for Samuel, Dominic, and myself.
Samuel Gougoux: Apart from Corridor, I play in other projects, including short films. I also did some music for a web series last summer. What I do always has a strong musical element. This work is easy to fit in with touring schedules. We’re all self-employed, which gives us flexibility in our schedules.
Dominic Berthiaume: It all depends on the economic context. For the album Mimi, we didn’t get any help or funding, we all paid for it from our own pockets. There’s also a difference between playing as a solo artist and playing in a band. In a group, the income gets split, which makes a big difference. A band has to work really hard for the members to be able to live on that only. You have to be hyperactive, if you’re not touring then you must be writing your next album. As soon as your music stops being played on the radio, you don’t really make any money at all.
PAN M 360: Even though the new album Mimi contains more electronic elements, you’re still a band that can easily be associated with the post-punk genre. Without wanting to label you, what does this genre represent for you?
Jonathan Robert: Not much … We never really decided we were going to do post-punk. Our influences are pretty diverse. I think it was also because of the local venue we used to have. When we used to play at Cité 2000 we were surrounded by metal bands so it was like a volume war. We had to play really loud, and that’s kind of what got the band started playing quite loud. Dom and I played in punk bands when we were younger. All those reflexes got into the band one way or another.
Dominic Berthiaume: We have always been a mix of all our influences, so to speak. If I’m thinking about the vocals or the melodies, it’s never had anything to do with post-punk. We’ve never been interested in doing spoken or shouted melodies. We’ve always been inspired by The Beach Boys vocals, which are quite ’60s and psychedelic. But the tone of the guitars is never very far from post-punk.
PAN M 360: Jonathan, you’re the one who writes the lyrics for the band. Generally speaking, the lyrics are fairly abstract and take time to reveal a certain meaning in the listener’s imagination. The melodies are very intuitive and satisfying to sing. How do you write your lyrics?
Jonathan Robert: To be honest, I actually write them a bit by default, a bit like Dom and I sing by default (laughs). It was like throwing a hot potato at each other, but eventually, I got comfortable with it and found my style over time. I’m not capable of writing down exactly what I have in mind. The vocal side comes to me like a melody. I choose the words that best fit into the melodic phrase. It’s not the words or phrases that determine the tone of the song.
Dominic Berthiaume: The word “dog” comes up a lot in Jo’s writing. So does “Ah non.”
Jonathan Robert: It’s true, they’re on the other three albums. The “Ah non” is a bit the opposite of the “yeah” (laughs).
PAN M 360: The visualizer for “Mon Argent” was made by you, Jonathan. It shows a funny little cat figure. Can you tell us about this video?
Jonathan Robert: The video was made with a lot of effort (laughs). I went to Dominic’s to get some curios and an old TV. The wire connecting my computer to the TV broke the day I was shooting, so I had to improvise something in a day.
Dominic Berthiaume: The cat figures are mine, I’ve got quite a collection of them in my apartment.
Photo credit : Delphine Snyers
PAN M 360: The video for “Mourir Demain” was produced by Paul Jacobs. The song is about death, but not in a gloomy way. What does this song mean to you?
Jonathan Robert: It’s about coming to terms with your own sudden death. I wrote it when I had to fill in my will for some life insurance. I realized that I’d reached an age where I had to think about things like that. It made me laugh, even if it’s not funny. When songs make me laugh, it’s usually a good sign.
PAN M 360: The song “Caméra” is about self-promotion in the digital age. Is this some kind of criticism about social media?
Jonathan Robert: It’s about this kind of conflict, this pressure to be on social media. We know that’s how it works, but sometimes it’s hard to draw the line because it’s so unhealthy. I hate that shitty self-promotion (laughs). I hate it but we still do it. Not everyone is charismatic or articulate. The less I show my private life, the happier I am. It’s OK to be introverted, isn’t it?
Samuel Gougoux: It’s a necessary step. We just want to make music, but that comes with the job. Talented people don’t always have this self-promotional side to them, and they may suffer from it more than they used to.
Dominic Berthiaume: Things were very different barely ten years ago. Now it’s implicit that it’s part of your job. You don’t have the choice of being good or resourceful when it comes to social media. Today, it has become a big part of the job. You’re required to engage in self-promotion, it’s not something someone else can do for you. You need to make it your own.
Scott Thomson is a trombonist, improviser, performer, composer and the new artistic director of the Festival international de musique actuelle de Victoriaville (FIMAV), which runs from May 16 to 19. For the first time, he talks to PAN M 360 and explains the approach that led him to his first program in the Bois-Francs. Below the interview with Alain Brunet, you can view some of his favorites.
Vers le FIMAV 2024: coups de cœur de Scott Thompson
The magnetic voice of Nastasia Y (Ukrainian-Toronto) and her craft are steeped in the soul of Slavic folk, but also in the culture of her Canadian homeland, where she has lived since she was 11 years old. This is what she told PAN M 360 on the eve of her show in Montreal, at the Ministère on Wednesday 8 May at 8 pm, with other bands and artists – Dumai Dunai, Akawi, DJ OOnga, Chellz and Sauce Piquante Sound System.
As part of the Piano 2024 edition of the Concours musical international de Montréal ( Montreal International Music Competition), either with CMIM artistic director Shira Gilbert and jury president, cultural grandee Zarin Mehta, chat with PAN M 360’s Alexandre Villemaire.
After serving as jury president in 2018, following the death of André Bourbeau – co-founder of the CMIM with Joseph Rouleau – and presiding over the Piano 2021 and Voix 2022 editions, Zarin Mehta, former general director of the OSM in 1981, recognized worldwide as a seasoned consultant and manager in the cultural milieu will be back for this edition where he will preside over the international jury for the 2024 edition.
Made up of performers and career teachers who are experts in their fields, Louise Bessette, Robert Levin, Dmitri Alexeev, Hélène Mercier, Lydia Artymiw, Jan Jiracek von Arnim, Ronan O’Hora and Minsoo Sohn will have the task of deciding which of the 24 candidates will advance to the competition.
PAN M 360 caught up with him at his home in Chicago, along with CMIM Artistic Director Shira Gilbert, to hear from them just days before the start of the competition, as well as to discuss some of the new additions to the events, including the chamber music component.
One of the major annual classical music events in Montreal’s cultural ecosystem kicks off on Sunday, May 5. Recognized as one of the most important and prestigious international competitions for the new classical generation, the Montreal International Music Competition (MIMC) will see 24 young pianists from 12 countries showcase their expertise and talent.
Through various elimination rounds, over the next two weeks the public will be able to witness a heightened competition where, well, it’s anyone’s guess who will be able to predict which of these young musicians will stand out when only 6 of them will advance to the final where they will be accompanied by the Orchestre symphonique de Montréal and its guest conductor, the Chinese-American Xian Zhang.
With its well-established reputation for excellence, the competition’s identity has always been marked by the spirit of open camaraderie and conviviality of its community. Once again this year, competitors will have the opportunity to receive instruction from exceptional mentors in various master classes and – new this year – to take their music to a wider audience with The MIMC on the Road.
With just a few days to go before the start of the competition we talk to Chantal Poulin, General Manager of the Competition to get a glimpse of what the Piano 2024 programming has in store.
For an Arab, what is the experience of immigration to North America? Lebanese-Montreal avant-pop duo Wake Island explore this question in a vast 3-part artistic intervention, scheduled to take place at Centre Phi. It’s a sort of triptych, consisting of an immersive live performance with Radwan Ghazi Moumneh (Jerusalem In My Heart, Hotel2Tango studio, Asadun Alay label, etc.), a “spatial audio” listening experience and a role-playing video game. Over the past two years, Wake Island has seen the universe of the album Born to Leave grow, a collection of oriental synth pop released in 2021, now accompanied by a video game, centered on the themes of immigration and Arab identity. The result of close collaboration with a team of Lebanese creative minds in Montreal, this ambitious project is a pop work that has become multifaceted and experimental at the Centre PHI. On May 3, we’ll be treated to a live musical performance of the game’s soundtrack by Wake Island and Radwan Ghazi Moumneh, featuring a video installation by Giotto remixing the game’s 3D visuals. All week long at the Centre PHI, from May 1 to 7, you’ll also be able to discover and play the game in the Galerie 1 showcases, and visit the Habitat Sonore listening room for an exclusive look at the album’s spatial mix.
Alex Henry Foster, the orchestral post-rock provocateur, came back from the dead, literally, after a close call with his heart left him unable to talk, sing, or strum a guitar. During his recovery, he dove into his archives from multiple trips to Japan and found he had the basis for a film. Using his poetry, journals, and interviews from Japan, he also began writing music and sought the aid of producer, Ben Lemelin, his musical partner for a number of years, and vocalist Momoka Tobari. Together they created Kimiyo, a gorgeous, orchestral post-rock odyssey that is light and heavy simultaneously.
Foster was unable to speak in the studio and had to use hand signals and pure emotion to conduct the musical passages while Momoka adapted and sang her passages in Japanese, completely reacting to the music in real time. In Foster’s words, Momoka channeled several different perspectives while singing her parts in Kimiyo. We spoke to Foster about Kimiyo, his artistic revelations, and some of the sounds found on the album.
On April 27 and 28, guitarist and composer Tim Brady will present a brand new opera entitled Information: Montréal Oct. 1970 at the Espace Orange du Wilder in Montreal’s Quartier des spectacles. To my knowledge, this is the first Quebec opera to be set during the October ’70 crisis.
With a libretto by Mishka Lavigne, the opera will feature Tim Brady himself on electric guitar, as well as Pamela Reimer on keyboard, Jean-Marc Bouchard on saxophone and Chloé Domingue on cello. On the vocal side, a fine cast including Marie-Annick Béliveau, Pierre Rancourt, David Menzies, Jacqueline Woodley and Clayton Kennedy.
After Backstage at Carnegie Hall, premiered at The Centaur in 2022, Information is the second opera in a tetralogy planned by Brady, entitled Hope (and the Dark Matter of History). The next operas will take us to Mars and a future infused with artificial intelligence.
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