OSM : Le célèbre Quintette « La truite » de Schubert

by Rédaction PAN M 360

Le raffinement et l’humeur badine qui régnaient dans les salons viennois teintent le Quintette de Schubert, plus particulièrement le quatrième mouvement, une suite de variations sur son célèbre lied « La truite ». Contemporain de Schubert, George Onslow a laissé une importante production de musique de chambre, truffée de petits bijoux à découvrir. Ce concert sera l’occasion d’entendre le pianiste Godwin Friesen, lauréat du Concours OSM 2022.

The elegance and lighthearted humour of Vienna’s salons rise to the surface in Schubert’s Quintet, particularly its fourth movement, a suite of variations on the composer’s celebrated lied “The Trout.” His contemporary George Onslow’s bounteous chamber music output is a cornucopia of little gems to discover. This concert also provides an opportunity to hear pianist Godwin Friesen, winner of the 2022 OSM Competition.

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Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

Classical Singing / classique

Concours musical international de Montréal : Finale du Prix Mélodie du CMIM

by Rédaction PAN M 360

Les cinq finalistes de la première épreuve MÉLODIE, sélectionnés parmi les chanteuses et les chanteurs les plus talentueux de leur génération, vous transportent au cœur de l’univers envoûtant de la mélodie. Le programme unique de cette finale de prix réunit des chefs-d’œuvre du répertoire, sublimant chaque voix et donnant vie à des récits empreints d’émotion, où poésie et musique s’unissent en parfaite harmonie. Une expérience musicale intime et profonde qui promet de captiver autant les amateurs de musique classique que les passionnés de poésie.
Les concurrents livreront des performances émouvantes en présentant des programmes où se côtoient des mélodies françaises, des lieder allemands, des art songs anglaises, des canciones artísticas espagnoles, des romances russes, des canzoni artistiche italiennes, ainsi que d’autres œuvres de récital. Ces prestations, présentées dans l’acoustique exceptionnelle de la Salle Bourgie du Musée des beaux-arts de Montréal, sauront ravir tant le public que le grand jury international.
Venez vivre un moment d’exception où l’excellence artistique est à l’honneur en assistant à cette finale du Prix Mélodie!

The five finalists in the Stage 1 ART SONG, selected from among the most exceptional singers of their generation, will transport you to the heart of the spellbinding world of Art Song. The unique program for this prize final brings together masterpieces from the repertoire, giving life to passionate works where poetry and music come together in perfect harmony. An intimate and profound musical experience that promises to captivate classical music lovers and poetry enthusiasts alike.
The competitors deliver moving performances in a program featuring French mélodies, German lieder, English art songs, Russian romances, Italian and Spanish art songs, and other recital works. These performances, presented in the exceptional acoustics of Salle Bourgie at the Montreal Museum of Fine Arts, will delight both the public and the international grand jury. Reserve your place or one of our packages now for an unforgettable musical and emotional experience in the company of exceptional singers.
Enjoy an unforgettable musical and emotional experience in the company of exceptional singers.

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Ce contenu provient de Place des Arts et est adapté par PAN M 360

Baroque / Classical / Modern Classical / période romantique

Les Violons du Roy and Antoine Tamestit | A Gripping and Profound Performance

by Alexandre Villemaire

Two years after a musical encounter that was described as masterful, French violist Antoine Tamestit, considered one of the world’s finest, returned to the Quebec stage with Les Violons du Roy. Presented on Thursday evening in Quebec City, this same concert, which took place on Friday evening at Salle Bourgie, featured themes such as death, loss and departure: themes which, despite their dark side, are nonetheless necessary to address, and in which we can nonetheless find light and a form of humanity.

Without preamble, once the orchestra and Tamestit had taken the stage, the hall was plunged into darkness, with the only source of light the lamps on the musicians’ lecterns. This set the stage perfectly for the first piece of the concert, Johann Sebastian Bach’s chorale Für deinen Thron ich tret’ich hiermit [Lord, here I stand before your throne], arranged for strings. According to Antoine Tamestit, in his speech following this short piece by Bach, he wanted to create a sensory experience in which the audience and musicians were led to feel the music through their breathing, through the intrinsic energies of the movement of the musical lines. The moment was indeed soothing, with a sound that was relentlessly gentle, yet rich in harmonies and low tones. The soloist, who also acted as conductor for the first part, followed with Paul Hindemith’s Trauermusik for viola and strings, composed a few hours after the death of King George V. We then enter another universe and harmonic language, with varied textures and musical materials, ending with a quotation from the same Bach chorale.

Tamestit then invited the audience to take part in an aural treasure hunt with Benjamin Britten’s Lachrymae, in which the composer quotes, in the form of variations, the song by Elizabethan composer John Dowland, If my complaints could passions move. To provide context, he performed the original in an arrangement of his own, preceded by the beautiful Flow my tears. A particularly touching moment, in which Tamestit’s sensitive playing came to the fore as the strings accompanied him in pizzicato. In Britten’s piece, Tamestit invited listeners to try and spot the musical extracts of these Renaissance songs scattered throughout Britten’s work. There was a strong appeal to pique listeners’ attention and invite them to open their ears wide to this universe of sound. His interpretation of the musical lines, with their enveloping thickness of sound and pure, fleshy grain, showed an invested and sensitive musicality. It has to be said, however, that Britten won the game of musical hide-and-seek, with Dowland’s excerpts remaining difficult to identify, even for seasoned ears.

The pièce de résistance of the concert was Tamestit’s arrangement for string orchestra of Johannes Brahms’ String Quintet in G major. For this final piece, in which Antoine Tamestit joins the viola section, we were treated to a blaze of emotions and luminous vivacity, particularly in the first and last movements, while the central movements – Adagio and Un poco allegretto – flirted with Hungarian folk accents and melancholy affects respectively. In this new texture with its increased sound amplitude, playing with 21 instrumentalists together without a conductor is a challenge that Les Violons du Roy met with brio and aplomb, producing a particularly rousing and gripping result, especially in the last movement, which is extremely dance-like with gypsy inflections.

The warm ovation from the audience and the radiant smiles on the musicians’ faces made this second collaboration between Antoine Tamestit and Les Violons du Roy well worth repeating. Having begun in darkness and contemplation, the concert ended in great light and human energy. Bringing out the beauty of a program that traces in filigree the themes of death and loss is not in itself innovative. But in this program, imbued with a skilful organicity, where we are naturally transported from one state of mind to another, we are reminded that even in the darkest moments, we can find beauty. To quote Félix Leclerc: “C’est grand la mort, c’est plein de vie dedans.”

Photo Credit : Pierre Langlois

Contemporary / Minimalist

Steve Reich’s quartets at Bourgie Hall : a perfectly oiled minimalist mechanism

by Frédéric Cardin

On Tuesday 1 April, for the first time in Montreal, all three of Steve Reich’s string quartets were performed in a single concert. When I say string quartets, I really mean string quartets AND tape, because they all use the latter. Played in inverse chronological order by the Mivos Quartet, the three works are emblematic of the sonic universe of the American, a pioneer of minimalism and, for many artists of subsequent generations, the grandfather of techno music and the sampling technique.

READ THE INTERVIEW WITH THE VIOLIST OF THE MIVOS QUARTET ABOUT STEVE REICH’S QUARTETS

Indeed, two of the three quartets use sound sampling (concrete sounds, snatches of voice, etc.) in a rhythmic and melodic perspective. The use of concrete sounds in music does not date back to Reich (Schaeffer, Henry and Stockhausen were there before him), but his instinctive and rhythmically catchy way of distributing them has inspired a creative movement of which hip hop is the latest genre to take up, often unknowingly, certain imperatives.

The most recent, WTC 9/11, uses sounds taken from the tragedy of 11 September 2001 in New York, while the first, “Different Trains” (which remains the best of all), draws a parallel between the trains travelling between New York and Los Angeles (which Reich often used at one time), and those that transported Jews to extermination camps during the Second World War (Reich is Jewish, and the allegory came forcefully to mind). In between, the Triple Quartet requires a tape on which two other quartets each play a score while the live ensemble performs its own on stage.

The Mivos Quartet has recorded these same three quartets for Deutsche Grammophon (they also played all the tracks of the two recorded quartets used inTriple Quartet). Its musicians are therefore well versed in the demands of this music. Nevertheless, performing this music on stage is extremely demanding. You have to concentrate at all times to react precisely to what is happening in the soundtrack and with your colleagues, and you have to keep track of all the repetitive patterns of the score, regularly punctuated by small changes that are as subtle as they are fundamental to the dynamic energy of the music. As they say, it’s easy to get lost in all that.

Hats off to the four excellent musicians of the New York-based ensemble (on their first visit here!) Olivia de Prato and Adam Woodward on violins, Victor Lowrie Tafoya on viola and Nathan Watts on cello. Their reading was breathtaking in its precision and coordination.

It’s almost an annual gathering of great names in minimalism that the Bourgie Hall programme offers us (in recent years we’ve had Glass and Missy Mazzoli), and we welcome it with enthusiasm. We hope it will continue and, why not, that there will be even more.

Classe de maître / classique / période romantique

Cours de maître – Andrè Schuen & Daniel Heide à la salle Bourgie

by Rédaction PAN M 360

Le célèbre baryton Andrè Schuen et le pianiste hors pair Daniel Heide partagent leur expertise et conseillent des étudiant.e.s avancé.e.s dans un cours de maître pour duos voix et piano sur le lied allemand. Une belle occasion d’observer comment se déroule un enseignement musical de haut niveau et d’appréhender le répertoire de musique de chambre d’une manière différente.

The renowned baritone Andrè Schuen and outstanding pianist Daniel Heide share their expertise and coaches advanced students, in a public masterclass on German lied for vocal-piano duos. A great opportunity to witness how a high-level musical education unfolds, and to approach the chamber music repertoire in a different way.

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LA CLASSE DE MAÎTRE EST GRATUITE POUR LES MOINS DE 34 ANS ET LES MEMBRES DU MBAM!

Ce contenu provient de la salle Bourgie et est adapté par PAN M 360

classique

OSM : Haydn et Chostakovitch – un saisissant contraste 

by Rédaction PAN M 360

Haydn a joué un rôle fondamental dans l’évolution du quatuor à cordes, et dans son dernier Quatuor op. 77 n^o 2, il se livre à des expérimentations subtiles avec finesse et inventivité. Chostakovitch, quant à lui, revisite les formes classiques dans son Quintette, avec un langage très personnel et une grande intensité émotionnelle.

Haydn played a key role in the evolution of the string quartet, and his final Quartet Op. 77  No. 2 is full of subtle experimentation that is both inventive and elegant. Meanwhile, Shostakovich reinterprets classical forms in his Quintet, infusing it with his deeply personal language and profound emotional intensity.

Programme

Joseph Haydn, Quatuor à cordes, op. 77 no 2 (24 min)
Dmitri Chostakovitch, Deux pièces pour quatuor à cordes : Adagio et Allegretto (8 min)
Dmitri Chostakovitch, Quintette pour piano et cordes, op. 57 (34 min)

Program

Joseph Haydn, String Quartet, Op. 77, No. 2 (24 min) 
Dmitri Shostakovich, Two Pieces for String Quartet: Adagio and Allegretto (8 min)
Dmitri Shostakovich, Quintet for Piano and Strings, Op. 57 (34 min)

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Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

Classical Singing / classique

Concours musical international de Montréal : Première épreuve du CMIM | Étape 1 – Aria

by Rédaction PAN M 360

Dans cette étape libre de 18 minutes de musique, les 24 concurrents internationaux doivent chanter trois œuvres dans au moins deux langues différentes et intégrer un air contemporain à leur programme.
À tour de rôle lors des cinq séances, ces jeunes chanteurs et chanteuses de la nouvelle génération font résonner leur virtuosité vocale, leur musicalité et les nuances uniques de leur personnalité dans l’acoustique exceptionnelle de la Salle Bourgie du Musée des beaux-arts de Montréal pour le plus grand plaisir du public et du grand jury international.
Vivez une expérience musicale et humaine inoubliable en compagnie de chanteurs et chanteuses d’exception.

In a free program of 18 minutes of music, the 24 international competitors must sing three arias in at least two different languages, including one contemporary aria.
In turn, these brilliant young singers of the new generation will display their vocal virtuosity, musicality, and unique personalities in the exceptional acoustics of the Salle Bourgie at the Montreal Museum of Fine Arts, to the delight of audiences and before the international grand jury.
Enjoy an unforgettable musical and emotional experience in the company of exceptional singers.

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POUR ACHETER VOTRE BILLET, C’EST ICI! (25 MAI, À 19H30)

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POUR ACHETER VOTRE BILLET, C’EST ICI! (26 MAI, À 19H30)

POUR ACHETER VOTRE BILLET, C’EST ICI! (27 MAI, À 19H30)

Ce contenu provient de Place des Arts et est adapté par PAN M 360

Baroque / Classical / musique contemporaine / période romantique

Les Violons du Roy and Kerson Leong: A Time of Grace

by Alexandre Villemaire

Les Violons du Roy’s first concert of 2025 finally took place not in Quebec City, but in Montreal’s Salle Bourgie. The weather having forced the postponement of the February 13 performance at the Palais Montcalm to a later date, it was Montreal audiences who got to hear violinist Kerson Leong and the world premiere of Kelly-Marie Murphy’s Found in Lostness, to a full house.

The evening’s repertoire was structured around works by Johann Sebastian Bach and Felix Mendelssohn. Bringing together the figures of Bach and Mendelssohn in a program is not a new or innovative idea. As first guest conductor Nicolas Ellis, in charge for the evening, rightly reminded us in his introduction. Indeed, Mendelssohn made a major contribution to the rediscovery of the Leipzig cantor’s music, which had been somewhat forgotten in the 19th century, when he presented The St. Matthew Passion in Berlin in 1829. Mendelssohn, himself an organist, was greatly influenced by Bach, as were many other composers who saw him as a spiritual master.

The first work on the program was Mendelssohn’s Symphony for Strings No. 10 in B minor. A youthful composition – he was fourteen when he wrote it – the influences are clearly classical in the treatment of the strings, reminiscent of Haydn, but the conduct of the voices, particularly in the first movement, marked Adagio, is eminently Bachian. In fact, the choice of the key of B minor, the same as that of his famous Mass, is a nod to Bach. For the rest, the form remains classical, but is peppered with the lyricism and passionate dynamic changes characteristic of Romanticism. It is clear that this is a young Félix exploring musical language, who has not yet found his style.

This was followed by a sensitive, meditative interpretation of the organ chorale O Mensch, bewein’ dein Sünde groß [O man, weep for your great sin]. Nicolas Ellis guided the musicians into an intimate, pleading world. The arrangement for strings by German composer Max Reger (1873-1916) lends a hushed, more interior character where, right up to the last note, we are left in a state of suspension. It’s another nod to Bach’s legacy to include Reger, who is said to have said: “Bach is the beginning and the end of music”.

What an excellent idea to seamlessly link the arrangement for soloists and string orchestra of the aria “Erbarme Dich [Have mercy, my God]” from St. Matthew’s Passion, featuring the evening’s guest soloist Kerson Leong, with Canadian composer Kelly-Marie Murphy’s Found in Lostness. With a sound of purity, Leong is accompanied by violist Jean-Louis Blouin in this vocal duet that perpetuates the dynamics of the previous chorale. Seconds that rub against each other to create dissonance magnify the imitation of the Apostle Peter’s guilt-ridden weeping after denying Jesus.

The transition into Kelly-Marie Murphy’s world is a natural one, as the aesthetic of the piece explores the theme of loss. The piece opens with chilling high notes, following a double bass solo by Raphaël McNabney that exploits the unnatural treble of his instrument. The piece then takes off in an energetic burst, featuring vivid melodic lines, extended violin playing techniques imitating shrill cries, tense chords and constant dynamic changes. After this wild ride, calm returns with a harmonic string carpet over which Kerson Leong’s violin brushes a dissonant line that the rest of the orchestra lightly joins. This finale reminded us of Charles Ives’ The Unanswered Question. Coherent, accessible and engaging, it deserves to be heard and, above all, listened to!

After opening with the music of the young Mendelssohn, the concert concluded with his last work, the String Quartet in F minor, composed after the death of his sister. The language of maturity asserts an unabashed romanticism, where the development of ideas is more developed, personal and marked by emotionally charged orchestral lines and treatments.

classique / Contemporary / saxophone

OSM : Cordes et saxophone 

by Rédaction PAN M 360

Ce programme établit un pont entre le XVIII^e siècle et le XXI^e pour offrir un fascinant contraste entre l’élégance classique de Mozart et Bologne et l’intensité dramatique de Banks et López où chaque œuvre présente une facette unique du quatuor à cordes. Steven Banks, ambassadeur réputé du saxophone classique, démontrera qu’en s’associant aux cordes, cet instrument leur apporte une saveur inimitable!

This program creates a bridge between the 18th and 21st centuries, offering a striking contrast between the classical elegance of Mozart and Bologne and the dramatic intensity of Banks and López. Each piece highlights a distinct facet of the string quartet. Steven Banks, the renowned ambassador of classical saxophone, will also demonstrate how his instrument adds a unique flavour when paired with strings!

Programme

Joseph Bologne, Chevalier de Saint-George, Quatuor à cordes no 1, op. 1 (19 min)
Steven Banks, Cries, Sighs and Dreams (15 min)
Jimmy López, La caresse du couteau (15 min)
Wolfgang Amadeus Mozart, Quatuor pour hautbois (saxophone) et cordes, K. 370 (14 min)

Program

Joseph Bologne, Chevalier de Saint-George, String Quartet No. 1, Op. 1 (19 min)
Steven Banks, Cries, Sighs and Dreams (15 min)
Jimmy López, La caresse du couteau (15 min)
Wolfgang Amadeus Mozart, Quartet for Oboe (Saxophone) and Strings, K. 370 (14 min)

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Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

classique / Electroacoustic / Jazz / musique du monde / Traditional

28th Opus Awards Gala | 32 Trophies For The Concert Ecosystem

by Judith Hamel

On Sunday, February 2, the entire Quebec concert music community gathered at Salle Bourgie to celebrate the highlights of the 2023-2024 season. Presented at Salle Bourgie by the Conseil québécois de la musique and broadcast (CMQ) on its FB page as well as on PAN M 360, this 28th Opus Awards Gala was, for the fourth year running, hosted by the enthusiastic Jocelyn Lebeau. A total of 32 awards were presented at a ceremony punctuated by interview blocks with the winners, encouraging dynamic exchanges on their respective projects.

This year’s Prix Hommage was awarded to Michel Levasseur to celebrate his 40 years at the helm of the Festival international de musique actuelle de Victoriaville (FIMAV). A key figure and builder of the experimental music and improvisation scene, this tribute was an opportunity to shine the spotlight on his hard work, which has greatly contributed to the development of the Quebec music scene.

Video testimonials from FIMAV loyalists Jean Derome and René Lussier were among the evening’s highlights. The tribute concluded by underlining the importance of the support of those around him throughout his career, as the audience gave a standing ovation to his family, friends and partners.

The evening’s musical highlight was provided by the Forestare guitar ensemble and its 13 performers, who took us from Denis Gougeon’s Une petite musique de nuit d’été to Bach, with the third movement of the Brandenburg Concerto No. 3 in G major closing the gala. Its conductor, Pascal Germain Berardi, also won an Opus for Musical Event of the Year, held at FIMAV in Bois-Francs: Basileus, an oratorio in 4 acts featuring the ensembles Horizon (brass), Forestare (guitars), Sixtrum (percussion) and the Growlers Choir (metal voices).

Traditional Québécois music was in the spotlight this year, with an outstanding performance by three traditional Québécois music duos. First, Cédric Dind-Lavoie and Dâvi Simard performed Alphonse Morneau’s Tenant mon frère from the album Archives, winner of the Concert traditionnel québécois de l’année award. A project in which recordings by the chansonniers of yesteryear are reborn and sublimated by an ambient musical setting. An album not to be missed. Then, Nicolas Boulerice and Frédéric Samson delivered Trois beaux garçons, before Alexis Chartrand, on violin and podorythmy, brought his energy to bear on Isidore Soucy’s Le Cyclone, accompanied by Nicolas Babineau on guitar.

Continuing this string resonance, guitarists Adam Cicchillitti and Stevan Cowan performed a beautiful arrangement of Germaine Tailleferre’s Sonata for Harp, with the two guitars in symbiosis, an arrangement sublimated by a meticulous sound system.

Among the double winners, pianist, composer and improviser Marianne Trudel was crowned Composer of the Year and received the award for Jazz Album of the Year for Time Poem: La joie de l’éphémère. Having returned in extremis from a concert on the Magdalen Islands, this is yet another distinction for this artist with a prolific career.

Roozbeh Tabandeh, an interdisciplinary artist nourished by Iranian and Western musical traditions, also distinguished himself by winning the Inclusion and Diversity and Discovery of the Year awards.

Montreal string ensemble collectif9, directed by Thibault Bertin-Maghit, walked away with the Artistic Direction and Performer of the Year awards.

Once again this year, I Musici distinguished itself by winning Creation of the Year with Denis Gougeon’s Spassiba Yuli, as well as Album of the Year – World Music for its participation in Continuum with Turkish artist Didem Basar under the label of the Centre des musiciens du monde.

The Orchestre Métropolitain, meanwhile, walked away with two Opus awards for its season-closing production of Aida, as well as for the Leningrad Symphony.

Early in the morning, the Concert of the Year Opus – Medieval, Renaissance and Baroque Music – was won by Arion Orchestre Baroque, for Aci, Galatea e Polifemo, conducted by guest conductor Francesco Corti, and featuring soprano Kateryna Kasper, contralto Margherita Maria Sala and bass Lisandro Abadie.

Finally, the interview format opened the door to some interesting discussions. Marianne Trudel and composer and improviser Joane Hétu, among others, spoke movingly of the contribution of sound engineers Rob Heaney and Bernard Grenon to the genesis of their works. Both passed away suddenly in recent years, leaving an indelible mark on the Quebec music scene. Their premature departure, like those of so many other artisans in the shadows, reminded us of how lucky we are to be here and to be making art,” said Marianne Trudel.

Congratulations to all the finalists and winners.

I invite you to check out PAN M 360’s other Opus Awards content.

Here is the list of winners for the 2023-2024 season:

Concerts

Concert of the year – Medieval, Renaissance and Baroque music

Aci, Galatea e Polifemo, Arion Orchestre Baroque, Francesco Corti, guest conductor, Kateryna Kasper, soprano, Margherita Maria Sala, contralto, Lisandro Abadie, bass, January 12 to 14, 2024

Concert of the year – Classical, Romantic and Post-Romantic music

Aida season finale, Orchestre Métropolitain, Yannick Nézet-Séguin, conductor, Angel Blue, Sarah Dufresne, sopranos, Matthew Cairns, SeokJong Baek, tenors, Ambrogio Maestri, baritone, Alexandros Stavrakakis, Morris Robinson, basses, Choeur Métropolitain, Festival de Lanaudière, August 4, 2024

Concert of the year – Modern and contemporary music

Two, Molinari Quartet, February 16, 2024

Concert of the Year – Contemporary and electroacoustic music

Monnomest, Ensemble SuperMusique, Joane Hétu, conductor, Vergil Sharkya, conductor, Productions SuperMusique, co-production Groupe Le Vivier, November 23, 2023

Concert of the Year – Jazz Music, accompanied by a $5,000 gift card from Instruments de musique Long & McQuade.

Sport national, Hugo Blouin, September 28, 2023

Concert of the Year – World Music

Continuum, Didem Başar, kanun, Patrick Graham, percussion, Etienne Lafrance, double bass, Quatuor Andara, Centre des musiciens du monde, February 13, 2024

Concert of the year – Traditional music from Quebec

ARCHIVES, Cédric Dind-Lavoie, multi-instrumentalist, Alexis Chartrand and/or Dâvi Simard, violins, November 15 and 19, December 10 and 16, 2023

Concert of the year – Répertoires multiples

Leningrad Symphony, Orchestre Métropolitain, Yannick Nézet-Séguin, conductor, Maria Dueñas, violin, November 18, 2023

Concert of the year – Ancient, classical, romantic, modern, postmodern impulses

Fabula femina, Cordâme, August 10, 2024

Creation of the year

Spassiba Yuli, for 2 cellos and strings, Denis Gougeon, Yuli’s legacy: Stéphane Tétreault and Bryan Cheng, I Musici de Montréal, April 25, 2024

Production of the Year – Young Audience, accompanied by $5,000 from the Ministère de la Culture et des Communications

J’m’en viens chez vous, Bon Débarras, February 11, 2024

Albums

Album of the year – Medieval, Renaissance and Baroque music

Calcutta 1789: At the crossroads of Europe and India, Christopher Palameta, Notturna, ATMA Classique

Album of the year – Classical, Romantic, Post-Romantic music

16 Histoires de guitares – Vol. III, David Jacques, ATMA Classique

Album of the year – Modern, contemporary music

Confluence, David Therrien Brongo, Ravello Records

Album of the Year – Contemporary and Electroacoustic Music

Limaçon, Léa Boudreau, empreintes DIGITALes

Album of the Year – Jazz

Marianne Trudel-Time Poem: La joie de l’éphémère, Trio Marianne Trudel, Productions Marianne Trudel, Indépendant

Album of the Year – World Music, accompanied by a $5,000 Mundial Montréal Mentoring & Conference package offered by Mundial Montréal.

Continuum, Didem Başar, Patrick Graham, Jean-François Rivest, I Musici de Montréal, Centre des musiciens du monde

Album of the Year – Quebec Traditional Music

Layon, Nicolas Pellerin and Les Grands Hurleurs, La Compagnie du Nord

Album of the Year – Ancient, classical, romantic, modern and postmodern impulses

Cendres, Vanessa Marcoux, Indépendant

Writing

Article of the year

“Du son vers la forme, le sens… l’Autre… : spectral thought and engaged art in the mixed works of Serge Provost”, Jimmie LeBlanc, Circuit, musiques contemporaines, May 1, 2024

Special awards

Opus Montréal Prize – Inclusion and Diversity, accompanied by $10,000 from the Conseil des arts de Montréal.

Roozbeh Tabandeh, Ensemble Paramirabo et Chants Libres, Songs of the Drowning, August 24, 2024

Prix Opus Québec

Festival Québec Jazz en Juin, June 20 to 30, 2024

Prix Opus Régions

Festival Ripon trad, September 14 to 17, 2023

Composer of the Year, accompanied by $10,000 from the Conseil des arts et des lettres du Québec.

Marianne Trudel

Discovery of the Year, accompanied by a video production courtesy of Télé-Québec’s La Fabrique culturelle.

Roozbeh Tabandeh, composer

Multidisciplinary Broadcaster of the Year

Salle Pauline-Julien

Specialized Broadcaster of the Year

Domaine Forget de Charlevoix

Artistic Director of the Year

Thibault Bertin-Maghit, collectif9

Baroque / classique

Les Violons du Roy : Requiem pour cordes avec Antoine Tamestit

by Rédaction PAN M 360

Après ses débuts mémorables couronnés d’un prix Opus en 2023 avec l’orchestre, le grand altiste Antoine Tamestit revient auprès des Violons du Roy pour une nouvelle rencontre qui s’annonce tout aussi exaltante et bouleversante avec une transcription pour orchestre à cordes du Quintette op. 111 de Brahms.

After his memorable Opus Award-winning debut with Les Violons du Roy in 2023, renowned violist Antoine Tamestit returns to the orchestra for a new collaboration that promises to be just as exhilarating and moving—a transcription for string orchestra of Brahms’ String Quintet Op. 111.

Programme

J.S. BACH
Choral Für deinen Thron tret ich hiermit, BWV 327
P. HINDEMITH
Trauermusik pour alto et cordes
J. DOWLAND
Flow my tears (arr. A. Tamestit)
If my complaints could passions move (arr. A. Tamestit)
B. BRITTEN
Lachrymae pour alto et cordes, op. 48a
J. BRAHMS
Quintette à cordes n^e 2 en sol majeur, op. 111 (version pour orchestre à cordes A. Tamestit)

Program

J.S. BACH
Choral Für deinen Thron tret ich hiermit, BWV 327
P. HINDEMITH
Trauermusik for viola and strings
J. DOWLAND
Flow my tears (arr. A. Tamestit)
If my complaints could passions move (arr. A. Tamestit)
B. BRITTEN
Lachrymae for viola and strings, op. 48a
J. BRAHMS
String Quintet No. 2 in G Major, op. 111 (version for string orchestra A. Tamestit)

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Ce contenu provient des Violons du Roy et est adapté par PAN M 360

classique

Les Violons du Roy : Jonathan Cohen, Mozart et l’amitié

by Rédaction PAN M 360

Trois talentueux musiciens solistes se joignent aux Violons du Roy sous la direction de Jonathan Cohen dans un concert sous le signe de l’amitié et de l’admiration de Mozart pour le clarinettiste virtuose de l’époque, Anton Stadler, et trois confrères compositeurs qui auront durablement marqué le jeune prodige de Salzbourg.
Jonathan Cohen, chef
Isaac Chalk, alto
Stéphane Fontaine, clarinette
Mélisande McNabney, piano-forte

Three gifted soloists join Les Violons du Roy, conducted by Jonathan Cohen, in a concert dedicated to Mozart’s friendship and admiration for Anton Stadler, the greatest virtuoso clarinetist of his time. The programme also features works by three fellow composers who left a lasting impression on the young prodigy from Salzburg.
Jonathan Cohen, conductor
Isaac Chalk, viola
Stéphane Fontaine, clarinet
Mélisande McNabney, fortepiano

Programme

W.F. BACH
Sinfonia pour cordes en fa majeur, Fk. 67
M. HAYDN
Concerto pour alto et piano-forte en do majeur, MH 41
C.P.E. BACH
Symphonie en mi bémol majeur, Wq. 179
W.A. MOZART
Concerto pour clarinette en la majeur, K. 622

Program

W.F. BACH
Sinfonia for Strings in F Major, Fk. 67
M. HAYDN
Concerto for viola and fortepiano in C Major, MH 41
C.P.E. BACH
Symphony in E Flat Major, Wq. 179
W.A. MOZART
Concerto for Clarinet in A Major, K. 622

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Ce contenu provient des Violons du Roy et est adapté par PAN M 360