{"id":134347,"date":"2025-03-12T15:02:16","date_gmt":"2025-03-12T19:02:16","guid":{"rendered":"https:\/\/panm360.com\/gig_review\/semaine-du-neuf-paramirabo-musikfabrik-avant-garde-old-school-rencontre-post-modernisme-cool-concert-montreal\/"},"modified":"2025-03-12T15:10:12","modified_gmt":"2025-03-12T19:10:12","slug":"semaine-du-neuf-paramirabo-musikfabrik-avant-garde-old-school-rencontre-post-modernisme-cool-concert-montreal","status":"publish","type":"gig_review","link":"https:\/\/panm360.com\/en\/gig_review\/semaine-du-neuf-paramirabo-musikfabrik-avant-garde-old-school-rencontre-post-modernisme-cool-concert-montreal\/","title":{"rendered":"Semaine du Neuf | Paramirabo\/Musikfabrik: old school avant-garde meets cool post-modernism"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Two ensembles devoted to contemporary music and separated by an ocean, but also by two schools of thought, met on Tuesday evening 11 March at the Wilder building in the Quartier des spectacles in Montreal. On one side, the Ensemble Musikfabrik from Cologne in Germany, represented by three of its musicians, oboe\/English horn (Peter Veale), horn (Christine Chapman) and double bass (Florentin Ginot). On the other, the Montreal sextet Paramirabo, comprising piano, percussion, violin, cello, clarinet\/bass clarinet and flutes. Beyond the difference in timbre imposed by the instrumentation of each ensemble, it was the marked dissimilarity between the two \u2018languages\u2019 spoken that was striking. Disparities that were obvious even to the most layman and accentuated by the chosen programme, in terms of syntax, discourse, the importance of narrative in the musical framework, references to the vernacular and many other aspects besides.&nbsp;<\/p>\n\n\n\n<div style=\"position: relative; width: 100%; height: 0; padding-top: 77.2727%;\n padding-bottom: 0; box-shadow: 0 2px 8px 0 rgba(63,69,81,0.16); margin-top: 1.6em; margin-bottom: 0.9em; overflow: hidden;\n border-radius: 8px; will-change: transform;\">\n  <iframe loading=\"lazy\" style=\"position: absolute; width: 100%; height: 100%; top: 0; left: 0; border: none; padding: 0;margin: 0;\"\n    src=\"https:\/\/www.canva.com\/design\/DAGhig4TXns\/SRhAC3nc53nb0DY4kcmDJg\/view?embed\" allowfullscreen=\"allowfullscreen\" allow=\"fullscreen\">\n  <\/iframe>\n<\/div>\n<a href=\"https:&#x2F;&#x2F;www.canva.com&#x2F;design&#x2F;DAGhig4TXns&#x2F;SRhAC3nc53nb0DY4kcmDJg&#x2F;view?utm_content=DAGhig4TXns&amp;utm_campaign=designshare&amp;utm_medium=embeds&amp;utm_source=link\" target=\"_blank\" rel=\"noopener\">Gracieuset\u00e9 Semaine du Neuf &#8211; Le Vivier cr\u00e9dit photo : Philippe latour<\/a> par Frederic Cardin\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the first half, the three guests from Musikfabrik demonstrated their breathtaking technical expertise in ultra-pointillist\/pointraitist scores in which every possible and impossible sound came out of the instruments present, except perhaps those for which they were initially intended. The quality of the sounds, timbres and textures was pushed to a very high level of perfection. The discourse, stratospherically intellectual, was enough to delight the most discerning of thoughtful music lovers. In my humble opinion, it was Juliet Palmer&#8217;s <em>Blur of Lichens<\/em> that stood out the most, offering, through a hyper-calculated construction, the most beautiful impression of freedom, even lyricism and grace. Canadian Gordon Williamson offered his humorous take on strict abstraction in <em>Odd Throuple <\/em>(a pun on Odd Couple, but with three people), a work in which he explored the sonic contrasts of this unusual trio (an oboe\/English horn, a horn and a double bass, let us not forget). I found Dylan Lardelli&#8217;s <em>The Giving Sea<\/em>, a \u2018spiritual evocation\u2019 of the ocean, much more academic. Unfortunately, I didn&#8217;t feel that uplift. Maybe this is just me.<br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/panm360.com\/interviews-panm360\/semaine-du-neuf-paramirabo-musikfabrik-rencontre-montreal-cologne\/\"><strong>READ THE INTERVIEW WITH PARAMIRABO&#8217;S PAMELA REIMER ABOUT THIS CONCERT<\/strong><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This strictly atonal and abstract discourse is rooted in a very Boul\u00e9zian or post-Boul\u00e9zian vision of the avant-garde (even if it&#8217;s not strict serialism\/dodecaphonism), which is already a good fifty years old. We can therefore speak of an \u2018old school\u2019 avant-garde, an astonishing oxymoron that would have been unimaginable not so long ago.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For the uninitiated, it&#8217;s an impression of cerebrality that will echo in the mind, a characteristic typically (let&#8217;s say stereotypically) associated with \u2018contemporary\u2019 music. Is it good music? Absolutely! But the second half, led by Paramirabo, was about to show us that today&#8217;s music is made elsewhere, and that it&#8217;s important not to forget that.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Rodney Sharman \u2013 Remembering John Cage (2019)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/v7m9LZ-jUSs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This part began with a short piece by Vancouver&#8217;s Rodney Sharman, a lovely, poetic tribute to John Cage for English horn (Peter Veale of Musikfrabrik) and piano doubled as toy piano (Pamela Reimer of Paramirabo), draped in neo-impressionist finery. The message had been sent: this second part was going to offer us a completely different experience, less cerebral, more organic, even sensitive, inclusive and eclectic in its amalgams. Post-modernist, and very cool.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">And that&#8217;s exactly what happened with Paul Frehner&#8217;s <em>Un pont sanguin <\/em>(A Blood Bridge), a narrative, rhythmic work imbued with a very broad post-minimalism and amusing sounds such as a <em>Plan 9 From Outer Space<\/em>-style synthesiser. A creation that deserves to be repeated as often as possible. Canadian Chris Paul Harman&#8217;s <em>Francisez-moi! (<\/em>Frenchify me) is a nod to the French language, inspired by early French composers, writers and poets. The result is full of humour, with narrations on tape of extracts from various texts, including one on the various qualities of \u2018\u2019t\u00e9tins\u2018\u2019 (breasts). There is a polytonal Turkish march from Lully in there, post-folk like tunes, and many more friendly things, albeit embedded in a modernist set of harmonies. It&#8217;s all fun and games.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Temporel 2022 | Ensemble Paramirabo jouent Romain Camiolo et Fr\u00e9d\u00e9ric Lebel | saison 2021-2022\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Dv6KJ-fZfYs?start=692&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, Quebec composer Fr\u00e9d\u00e9ric Lebel presented his creation <em>Si le Temps, l&#8217;Espace<\/em> (If Time, Space), a beautiful score tinged with neo-spectralism, sparkling with a thousand lights and pleasantly open, even solar.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The members of Paramirabo were impeccable, on par with their illustrious guests. The programme will travel to Germany in the coming months. We can be sure that our German cousins will be impressed not only by the quality of our instrumentalists, but also by the kind of contemporary music they champion, informed by Europe but steeped in North America.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Paramirabo :&nbsp;<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jeffrey Stonehouse, flutes and artistic direction<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Viviane Gosselin, cello and general direction<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gw\u00e9na\u00eblle Ratouit, clarinets<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hubert Brizard, violin<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pamela Reimer, piano<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Krystina Marcoux, percussion<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Paramirabo :&nbsp;<\/p>\n\n\n\n<iframe style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/37i9dQZF1E4sRao45tgeO8?utm_source=generator\" width=\"100%\" height=\"352\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\">Musikfabrik :&nbsp;<\/p>\n\n\n\n<iframe style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/37i9dQZF1E4qYkznkRACvY?utm_source=generator\" width=\"100%\" height=\"352\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Two ensembles devoted to contemporary music and separated by an ocean, but also by two schools of thought, met on Tuesday evening 11 March at the Wilder building in the Quartier des spectacles in Montreal. On one side, the Ensemble Musikfabrik from Cologne in Germany, represented by three of its musicians, oboe\/English horn (Peter Veale), [&hellip;]<\/p>\n","protected":false},"author":775,"featured_media":134343,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"_crdt_document":""},"categories":[8152],"tags":[],"genre":[3122],"salle":[8110],"ville":[7246],"class_list":["post-134347","gig_review","type-gig_review","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques-de-concerts-en","genre-contemporary","salle-edifice-wilder-espace-orange-en","ville-montreal-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Semaine du Neuf | Paramirabo\/Musikfabrik: old school avant-garde meets cool post-modernism - PAN M 360<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/panm360.com\/en\/gig_review\/semaine-du-neuf-paramirabo-musikfabrik-avant-garde-old-school-rencontre-post-modernisme-cool-concert-montreal\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Semaine du Neuf | Paramirabo\/Musikfabrik: old school avant-garde meets cool post-modernism - PAN M 360\" \/>\n<meta property=\"og:description\" content=\"Two ensembles devoted to contemporary music and separated by an ocean, but also by two schools of thought, met on Tuesday evening 11 March at the Wilder building in the Quartier des spectacles in Montreal. 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