Advance Tickets: $12 General / $10 Students & WF Members (Processing fees apply)
Door Tickets: $15 General / $12 Students & WF Members
“The Foolish Allies” features the duo Fiolûtröniq (Cléo Palacio-Quintin and Elin Söderström) with Katelyn Clark (harpsichord). A repertoire of new works inspired by the theme of “La Folia”.
Composer Workshop with Fiolûtröniq:
November 7 @ 7:00pm (Free)
The duo Fiolûtröniq explores the collaborative possibilities of new interactive instruments, the hyper-flutes, and of a historic one, the viola da gamba, which together create new music that integrates contemporary digital technologies. The flutist-composer Cléo Palacio-Quintin and the violist Elin Söderström have worked together since 2006 to explore and develop their musical language. As no repertoire exists for this original instrumentation, Fiolûtröniq collaborates with composers to elicit new compositions.
Since 2007, the duo has performed on numerous occasions in Montreal. During the summer of 2007 Fiolûtröniq presented concerts at the Montreal Baroque and the Jusqu’au Oreilles festivals, and in May 2008 performed at the Gésu. May 2009 saw Fiolûtröniq at the Chapelle historique du Bon-Pasteur in a program of premiers by composers Denis Dion, Michel Frigon and Chantale Laplante. The duo was also invited to perform at the 2009 Blue Metropolis Festival in “Veuillez signaler un poème”, an uncommon collaboration between poets, composers and performers. Active in the worlds of early and contemporary music throughout North America and Europe, these two musicians attract attention wherever they perform due to the originality and quality of their artistic projects.
In 2011, Fiolûtröniq and harpsichordist Katelyn Clark have invited several Canadian composers to create short works inspired by the theme of “La Folia”.
In its earliest form, “La Folia” was a Portuguese folk dance which got its name (meaning ‘mad’ or ‘empty- headed’) from its rapid and noisy character which led the dancers to appear out of their mind. The repeated harmonic and melodic material from the dance became a popular source of variations, especially during the 17th and 18th centuries. These variations all exploit the extreme virtuosity of the instrumentalist, demanding a certain madness on the part of the performer, perhaps reminiscent of the Portuguese dancers…
In keeping with its desire to combine old and new musical influences, Fiolûtröniq was interested in revisiting this theme. The program of the concert includes a range of short creations for the three instrumentalists (either in solo, duo or trio) with or without electronic components. For this, we have solicited Canadian composers of different writing styles, origins and ages in order to obtain a rich variety of compositions. Eleven composers have accepted the invitation: Martin Arnold, Marie-Pierre Brasset, Stacey Brown, Eric km Clark, Emily Doolittle, Grégoire Jeay, Analía Llugdar, Chantale Laplante, Tawnie Olson, Marie-Claire Saindon, including the premiere of “Non Compos Mentis” by Victoria composer Kimberly Shepherd.
The project was premiered at the Chapelle historique du Bon-Pasteur in Montreal as part of Cléo Palacio-Quintin’s tenure as composer-in-residence, on March 8th 2011, in order to mark the occasion of the Day of the Women by presenting many female composers. Fiolûtröniq would like to invite concert organizers of subsequent performances to commission a variation from a local composer, creating in this way not only a première at every concert but also new collaborations between Canadian composers and Fiolûtröniq.
Cléo Palacio-Quintin (flute, bass flute and electronics)
Constantly seeking new means of expression and eager to create, the flutist-improviser-composer Cléo Palacio-Quintin (b. 1971 Belgium, currently living in Montreal) takes part in many premieres as well as improvisational multidisciplinary performances, and composes instrumental and electroacoustic music for various ensembles and media works. Since 1999, she extended these explorations into the development of a new instrument: the hyper-flute. Interfaced to a computer and software by means of electronic sensors, the enhanced flute enables her to compose novel electroacoustic soundscapes. She just finished doctoral studies in Montreal, which were focused on the compositions of new works for the hyper-flute and her new hyper-bass-flute. Recent conferences and concert activities have taken her to France, Portugal, the Netherlands, Norway and Sweden. She won the Prix Opus of “Composer of the year” in Québec, for the artistic season 2010-2011.
Elin Söderström (viola da gamba)
A graduate of McGill University in Montreal and of the Royal Conservatory in The Hague (Netherlands), viola da gamba player Elin Söderström (b. 1975, Montreal) has performed in Canada, the United States, Europe and the Near East. A special interest in consort playing has been fostered through many years of collaboration with the Dutch viol consort The Spirit of Gambo and more recently, the Montreal-based Voix Humaines Consort of Viols. A dedicated teacher, Elin communicates her passion through private instruction as well as at various workshops. Elin dedicates more and more of her time to improvised music, a life-long interest that has become the subject of a doctorate which she completed at the Université de Montréal, thanks to a generous grant from the Fonds québécois de recherche sur la société et la culture.
Katelyn Clark (harpsichord)
Harpsichordist Katelyn Clark (b. 1979, Victoria, currently living in Montreal) specializes in the performance of historical repertoire and experimental music on early keyboard instruments. As a soloist and ensemble musician, she has performed in Europe, USA, Brazil, and Canada, and has appeared at such diverse festivals as Musica Antigua Barcelona, the Vancouver New Music Festival, and the Festival Medièval d’Elx. After studies in Victoria, Katelyn completed a master’s degree in harpsichord and basso continuo with Bob van Asperen at the Amsterdam Conservatory in The Netherlands and has held several artist residencies at the Banff Centre. Her artistic study and practice have been generously supported by the Canada Council for the Arts, The BC Arts Council, Le Conseil des arts et des lettres du Québec, and the Early Music Society of the Islands.
Toronto-based composer and performer Martin Arnold (b. Edmonton,Canada, 1959) studied in Edmonton, Banff, the Hague, and Victoria, where his teachers were Alfred Fisher, Frederic Rzewski, John Cage, Louis Andriessen, Gilius van Bergeijk, Rudolf Komorous, Douglas Collinge, and Michael Longton. Martin is a founding member of the Drystone Orchestra and from 1995-2000 he was artistic director of The Burdocks. Currently he plays guitar, banjo, melodica and live electronics in Marmots and Cow Paws as well as in bands led by Ryan Driver and Eric Chenaux. Martin works as a gardener and teaches in the Cultural Studies Department of Trent University.
Marie-Pierre Brasset (b. Dolbeau, 1981, currently living in Montreal) completed a Masters at the Conservatoire de musique de Montréal in the composition class of Michel Gonneville. In 2008, she gained international attention after winning two prizes at the 7e rencontres internationales de composition de Cergy Pontoise. Her works have been performed by the Quatuor Arthur-Leblanc, the ensemble Erreur de type 27, the Quatuor Bozzini, the Onix Ensemble and the Orchestre-Studio de Cergy-Pontoise. She composed an opera, Le Quai des noyés, that was performed at the Conservatoire de musique de Montréal in February 2010. Marie-Pierre Brasset is also involved in various projects of experimental and electronic music presented in Québec and the Yukon. She has recently started doctoral studies at the Université de Montréal.
Composer Stacey Brown’s (b. Kamloops, 1976, currently living in Montreal) musical output focuses mainly on instrumental scores, with a marked interest in collaborative, interdisciplinary and multimedia environments (dance, theatre, opera and film). She is the creator of numerous concert works (solo, vocal, chamber, mixed and orchestral) that have been performed throughout the country and is also the author of analytical articles published in France in the journal L’Éducation Musicale. Stacey Brown is an Associate Composer of the Canadian Music Centre, a member of the Canadian League of Composers and a member of SOCAN. She earns a Doctorate in Composition from the Université de Montréal, and teaches at Collège Vincent D’Indy.
Eric km Clark
Accomplished violinist, composer, and improviser Eric km Clark (b. Victoria, 1981, currently living in Los Angeles) has performed throughout the world, with the majority of his shows taking place in Los Angeles, Toronto, and New York City. Originally from Victoria, BC, Mr. Clark first moved to the US in 2004 to study at the California Institute of the Arts with James Tenney. He has worked with many of the world’s most innovative artists and ensembles, including Michael Gordon, Guy Maddin, Wadada Leo Smith and the Silver Orchestra, Christian Kesten, Michael Pisaro, and Butch Morris. Mr. Clark is currently a member of the California E.A.R. Unit (LA), Object Collection (NYC), neithernor (TOR), and the Kadima String Quartet (LA). His playing has been released on Innova, New World, Tonehole Music, and Sundialtech.
Composer Emily Doolittle (b. Halifax, 1972, currently living in Seattle) is Assistant Professor of Composition at Cornish College of the Arts in Seattle. She was educated at Dalhousie University (BMus 1995), the Koninklijk Conservatorium in The Hague (Eerste Fase, 1998), Indiana University (MMus, 1999) and Princeton (PhD, 2007). She has written for such ensembles as Orchestre Métropolitain du Grand Montréal, Tafelmusik Baroque Orchestra, the Albany Symphony, Ensemble Contemporain de Montréal and the Motion Ensemble. Her doctoral research was on the relationship between bird and other animal songs and human music, a field in which she continues to be active. Other interests include the traditional music of various cultures, community music-making, and music as a vehicle for social change.
An accomplished baroque flutist and recorder player, Grégoire Jeay (b. Bordeaux, France, 1962, currently living in Montreal) has appeared in concert in Canada, the United States, France, Belgium, Mexico, and Turkey. In addition to his activities as a performer, Grégoire Jeay is an active composer and arranger. Among other projects, he has composed the music for the play “The Visiteur” produced by Jeunesses Musicales du Canada, and for the television documentary “Mystic Women of the Middle Ages”.
Chantale Laplante’s (b. Rimouski, 1956, currently living in Montreal) musical journey has been a unique one: trained in classical and jazz piano, she was a member of experimental and pop music groups, going on to pursue academic studies in composition, including private studies with Francis Dhomont and Jonathan Harvey (UK). Her work is focused around the notion of sound being the carrier of a sensation that the composer needs to grasp and transpose into a musical meaning. She has explored this approach through instrumental and mixed music as well as with her laptop improvising with her sound bank. Since 2009, she has been an associate researcher at matralab, headed by Sandeep Bhagwati. Since September 2011, she has been a PhD Candidate in the Études et pratiques des arts Program at the Université du Québec à Montréal, with the support of the Fonds québécois de la recherche sur la société et la culture.
Analía Llugdar (b. Santiago del Estero, Argentina, 1972, currently living in Montreal) received her doctorate in composition from the Université de Montréal. A number of her works have been performed in Europe and Quebec, by groups such as NEM, ECM+, Duo Prémices, the Orchestre Symphonique de Laval, Trio Fibonacci, Alizé, and the Enfants Terribles. Her work has received many prizes, including the Prix de Musique Contemporaine Québec-Flandres (2007) and the Jules Léger Prize for New Chamber Music (2008). Sensitive to contemporary human realities, Llugdar’s music is characterized by its detail to timbre and harmony that reveals both artistic commitment and a subtle critique of the world around her.
The music of Canadian composer Tawnie Olson (b. Calgary, 1974, currently living in Connecticut) has been performed by a wide range of ensembles and individual musicians, including the Calgary Philharmonic Orchestra, the Gemini Duo, the Satie Quartet, the Land’s End Ensemble, the Canadian Chamber Choir, the Guelph Chamber Choir, bassoonist Nadina Mackie Jackson, and harpsichordist Katelyn Clark. Recent projects include La Folia, a work for harpsichord commissioned by Katelyn Clark with assistance from the Canada Council for the Arts, and Child’s Play, commissioned by the Vancouver Chamber Choir. In 2011 her composition Chantez à l’Éternel was recorded by the Canadian Chamber Choir as part of their debut commercial album. She holds a doctorate in music composition from the University of Toronto.
Beginning to study classical violin at the age of four, Marie-Claire Saindon (b. Ottawa, 1984, currently living in Montreal) first showed interest in composition while in high school, where she wrote and produced her first musical, “Jeanne” (2003). She published her women’s choir piece, “Le train d’hiver” (2002), with Boosey & Hawkes in 2006. While studying French-Canadian fiddle, Irish singing, and gypsy-jazz violin on her own time, Marie-Claire completed a Bachelor’s degree in Composition at the Schulich School of Music (McGill University). After a year abroad doing volunteer work in French Guiana, Marie-Claire completed a Master’s degree in Composition: Film and Multimedia music at l’Université de Montréal, under the supervision of Ana Sokolovic and Pierre-Daniel Rheault.
Kimberley Shepherd (b. Victoria, Canada, 1988, currently living in Victoria) graduated with her BMUS from the University of Victoria this spring, where she studied music composition with Christopher Butterfield and Daniel Peter Biro. Her pieces have been performed in the Greater Victoria Performing Arts Festival, and the West Coast Student Composers Symposium, in student concerts, and in readings with JACK Quartet, Quasar Quartet, the UVic Orchestra, and ECM+.
Co-presentation with Music on Main