[vc_row][vc_column][vc_empty_space height=”48″][vc_single_image image=”51778″ img_size=”full”][vc_empty_space][vc_empty_space][vc_column_text]<\/p>\n
[\/vc_column_text][vc_empty_space height=”48″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_single_image image=”51770″ img_size=”full”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”51787″ img_size=”full”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”48″][vc_btn title=”MUSICAL POSTCARDS FROM THE CAMMAC MUSIC CENTRE” color=”info” size=”lg” align=”center” i_icon_fontawesome=”fa fa-video-camera” css_animation=”fadeIn” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fwww.youtube.com%2Fplaylist%3Flist%3DPLwcH2jkh-u45uxN5yE8yKSS_5J5Dw2PNi||target:%20_blank|”][vc_empty_space height=”48″][vc_column_text]<\/p>\n
Conceived by Guylaine Lemaire, CAMMAC\u2019s Artistic Director,\u00a0Postcards<\/em> features three ensembles selected from among CAMMAC\u2019s teaching staff. CAMMAC teacher and McGill Doctorate of Music candidate Kevin O\u2019Neil was commissioned to write a short piece for each of the ensembles.<\/p>\n The project was created to allow CAMMAC to develop, extend and innovate its artistic practice by taking it to a new level, a necessity for cultural organizations in the context of the COVID-19 pandemic. During this time when live music is not available to most listeners, our objective is to bring beautiful musical moments at the Music Centre not only to CAMMAC\u2019s members and community but also to a much wider audience than would be possible with a live performance.<\/p>\n The project also provides an opportunity for CAMMAC to promote its music programs by featuring performances by our exceptional teaching staff. And with new work being written for the project, we are proud to bring new artistic content of the highest calibre to Canadians.<\/p>\n We hope that the experience of this new Canadian music will allow many new listeners will discover just how much CAMMAC has to offer, and that it will inspire music lovers and musicians of all ages and abilities to visit the Music Centre and to participate in CAMMAC\u2019s activities.[\/vc_column_text][vc_empty_space height=”48″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_single_image image=”51785″ img_size=”full”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”51768″ img_size=”full”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”48″][vc_column_text]Guylaine Lemaire \u2013 Artistic Director of CAMMAC<\/strong><\/p>\n \u201cOne of the greatest assets of the CAMMAC Music Centre is its superb roster of teachers, a group of over 100 professional musicians made up of some of Canada\u2019s very finest performing artists.\u00a0<\/em>Every year, they come to CAMMAC to teach for our Summer Music Programs and to perform innovative concerts of the highest calibre at the Music Centre. Many of them also take part in our popular CAMMAC Musical Sundays Festival concert series.\u00a0<\/em><\/p>\n With this project, we wished to hire some of our teachers to participate in 6 recorded \u201cmusical postcards\u201d to be filmed on the beautiful site of the CAMMAC Music Centre at Lake MacDonald, in Qu\u00e9bec\u2019s picturesque Laurentians. <\/em><\/p>\n To be even more creative, we commissioned Montreal composer Kevin O\u2019Neil to write a short piece for three groups of CAMMAC teachers for the summer of 2020. We also want to keep this idea going by having the option to keep writing variations or new movements to be performed by other artists closely associated with CAMMAC in the future.<\/em><\/p>\n The Music Centre had been silent throughout the summer due to the COVID-19 pandemic when the groups came to the Music Centre in October 2020 to record their new piece as well as a piece of their choice. It was a very emotional moment for all to have music resonate through this beautiful site again to make these videos.<\/em><\/p>\n This project is <\/em>a great way to promote our excellent musicians and the music programs at CAMMAC. It was <\/em>meant to allow CAMMAC to reach many more Canadians than we would with a live performance, thus increasing the discoverability of CAMMAC and of Canadian artists. With new work having been written, the project provides Canadians with access to new Canadian artistic content, and takes CAMMAC\u2019s artistic practice to a new level, which I believe is essential considering the context of the pandemic.\u201d<\/em><\/p>\n <\/p>\n Kevin O\u2019Neil \u2013 Composer \/ Sound Recording and Editing<\/strong><\/p>\n \u201cWhen Guylaine Lemaire first proposed to me this wonderful project of hers, I was absolutely overjoyed \u2013 and perhaps just a little nervous \u2013 at the prospect of writing for musicians of such an exceedingly high calibre. In the weeks that followed, these veritable luminaries of the Canadian musical landscape generously gave of themselves throughout the creative process, and if the three works that comprise this commission seem quite different from one another, it’s because each piece was shaped by the particular alliance I was able to forge with its intended musicians. I certainly couldn’t have asked for more masterly and sympathetic interpretations, and thank Julien, Marc, Margaret, M\u00e9lisande, Alexa, Caroline, Marie-Laurence, and Vincent for lending their consummate artistry to my craft. I am, of course, also eternally grateful to Guylaine for giving me the chance to produce these little gifts for our dear CAMMAC community.<\/em>\u201d<\/em>[\/vc_column_text][vc_empty_space height=”48″][vc_btn title=”WATCH: “THE MAKING OF A DIGITAL ORIGINAL“” color=”info” size=”lg” align=”center” i_icon_fontawesome=”fa fa-video-camera” css_animation=”fadeIn” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dtpre0DkA42U%26t%3D2s||target:%20_blank|”][vc_empty_space height=”64″][vc_separator style=”shadow” border_width=”6″][vc_empty_space height=”64″][vc_column_text]<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”64″][vc_single_image image=”51740″ img_size=”large”][vc_empty_space height=”52″][vc_column_text]<\/p>\n (M)\u00e9lodie no. 1 <\/em><\/strong>\u2013 by Kevin O’Neil<\/p>\n Prelude no. 2<\/em><\/strong> \u2013 by George Gershwin (arr. Heifetz)<\/p>\n Both from the Maritimes, musical duo Marc Djokic & Julien Leblanc have collaborated together for 10 years and have displayed their powerful playing and virtuosity from coast-to-coast tours across Canada. With their rich energy, style and enthusiasm towards engaging with the audience, they brought a renewed appreciation of violin and piano music to a diverse public.<\/em><\/p>\n Marc Djokic is a Canadian violinist and winner of the 2017-2018 Prix Goyer. Among the many distinctions that he has received throughout his career, he is a Prix Opus laureate and former Canada Council Instrument Bank recipient. Marc is currently concertmaster of l\u2019Orchestre classique de Montreal, and Artist-in-Residence at CAMMAC.<\/em><\/p>\n Canadian pianist, Julien LeBlanc, dazzles with virtuosity and appealing enthusiasm. He is recognized for his great musical sensitivity and his ability to communicate the essence of the music.<\/em><\/p>\n www.marcdjokic.com\/djokic-leblanc-duo<\/a><\/strong>[\/vc_column_text][vc_empty_space height=”48″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_btn title=”WATCH: (M)\u00e9lodie no. 1″ color=”info” size=”lg” align=”center” i_icon_fontawesome=”fa fa-video-camera” css_animation=”none” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fyoutu.be%2FvHvElPNHHQo||target:%20_blank|”][\/vc_column][vc_column width=”1\/2″][vc_btn title=”WATCH: Prelude no. 2″ color=”info” size=”lg” align=”center” i_icon_fontawesome=”fa fa-video-camera” css_animation=”none” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fyoutu.be%2FooVErSaLEiQ||target:%20_blank|”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”18px”][vc_column_text]About (M)\u00e9lodie no. 1<\/em>:<\/strong><\/p>\n \u201cThe tune for\u00a0(M)\u00e9lodie no. 1\u00a0came to me one day in the Autumn of 2016, while noodling around on a public piano I came across while ambling about with my then-newborn daughter Elodie sleeping snuggled to my chest in a baby-wrap.\u00a0For four years, this simple little fragment stuck with me, and though I tried here and there to make something of it, it never really found a home until this commission, where it seemed to suddenly wake up and\u00a0demand\u00a0to be played by Marc Djokic, who had recently become a new dad himself.\u201d<\/em> \u2013 Kevin O\u2019Neil, composer<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”48″][vc_separator border_width=”2″][vc_empty_space height=”64″][vc_single_image image=”51782″ img_size=”large”][vc_empty_space height=”52″][vc_column_text]<\/p>\n Sarabande<\/em><\/strong> \u2013 by Kevin O’Neil<\/p>\n Concert XLI: Le retour\u00a0by Jean<\/em><\/strong> \u2013 by Sainte-Colombe<\/p>\n Margaret Little has been performing since 1975 as a soloist and chamber musician on the viola da gamba and baroque viola with various early music groups both in Canada and abroad. She has recorded over 100 albums, and her first solo CD, \u201cSenza Continuo\u201d was nominated for an Opus Award. She teaches the viola da gamba both privately and at the Faculty of Music at the Universit\u00e9 de Montr\u00e9al. She is the daughter of CAMMAC\u2019s founding director, George Little.<\/em><\/p>\n A versatile musician, M\u00e9lisande Corriveau performs at home and abroad both as a soloist and chamber musician with many ensembles. She is the founder of L\u2019Harmonie des Saisons with her partner harpsichordist Eric Milnes. M\u00e9lisande studied viola da gamba with Margaret Little and going to CAMMAC was part of her life for many years.<\/em><\/p>\n www.harmoniedessaisons.org<\/a><\/strong>[\/vc_column_text][vc_empty_space height=”48″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_btn title=”WATCH: Sarabande” color=”info” size=”lg” align=”center” i_icon_fontawesome=”fa fa-video-camera” css_animation=”none” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fyoutu.be%2FQoCzaSJgpSU||target:%20_blank|”][\/vc_column][vc_column width=”1\/2″][vc_btn title=”WATCH: Concert XLI” color=”info” size=”lg” align=”center” i_icon_fontawesome=”fa fa-video-camera” css_animation=”none” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fyoutu.be%2FbIiWuKgj48g||target:%20_blank|”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”18px”][vc_column_text]About Sarabande<\/em>:<\/strong><\/p>\n \u201cIn my initial research for this commission, I discovered that the\u00a0viola da gamba\u2019s tuning was not so different from my primary instrument, the guitar. I admit that my first sketches might have been just a little\u00a0too guitar-y, but Margaret Little\u2019s guidance allowed me to transform these into something more idiosyncratic to the viol and explore its singular means of expression. Formally, I was inspired by an interpretation I heard of Bach\u2019s Partita No.1, BWV 825 (the performer of which I do not know) which was played so slowly that immense chasms of time seemed to gape in between each of a\u00a0sarabande\u2019s\u00a0three beats. I wanted to compose something that had a similar type of temporal elasticity and wide-openness.\u201d<\/em> \u2013 Kevin O\u2019Neil, composer<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”48″][vc_separator border_width=”2″][vc_empty_space height=”64″][vc_single_image image=”51738″ img_size=”large”][vc_empty_space height=”52″][vc_column_text]<\/p>\n Quinta<\/em>\u00a0<\/strong>\u2013 by Kevin O’Neil<\/p>\n Jesus Christus, unser Heiland<\/em>\u00a0<\/strong>\u2013 by J. S. Bach<\/p>\n Dynamic and versatile, Montreal-based ensemble\u00a0Fl\u00fbte Alors!\u00a0is composed of four new-generation recorder players. <\/em>The ensemble has distinguished itself through the audacity of their programmes and the excellence of their performances. Through their masterful technique and extraordinary musicality, Fl\u00fbte Alors! presents the recorder as an eloquent instrument capable of expressing the most extreme emotions and the subtlest of nuances. Each of these artists are in demand to perform at concert series and festivals both in Canada and abroad, and have appeared on numerous recordings.<\/em><\/p>\n R\u00e9v\u00e9lation Radio-Canada 2013-2014 and Breakthrough Artist of the Year at the 2012 Opus Awards, recorder player Vincent Lauzer graduated from McGill University. Winner of several prizes in national and international competitions, he is a versatile performer, playing with Les Songes, Arion Baroque Orchestra, Les Violons du Roy, La Bande Montr\u00e9al Baroque, the Pacific Baroque Orchestra, Les Id\u00e9es heureuses, and La Cigale.\u00a0<\/em><\/p>\n A versatile artist, Marie-Laurence Primeau is an experienced recorder player and is now establishing a solid reputation as a viola da gamba player and baroque dancer. The complementarity of these arts gives a particular dimension to her playing and brought her to work with well-established ensembles such as le Consort des Voix Humaines, les Bor\u00e9ades de Montr\u00e9al, la Cigale, les Id\u00e9es Heureuses, les Voix Baroques and the Toronto Masque Theatre.<\/em><\/p>\n Equally at ease on the traverso and recorder, American\/Canadian Alexa Raine-Wright maintains an active Montreal-based performance career.\u00a0<\/em>She is a graduate of McGill University, and is a founding member of the award-winning ensemble Infusion Baroque. She is the winner of several national and international competitions<\/em>.<\/em><\/p>\n Winner of the first prize in her category at the Canadian Music Competition, Caroline Tremblay graduated with a Masters in Music Performance from l’Universit\u00e9 de Montr\u00e9al. <\/em>Very active in concert with Fl\u00fbte Alors!, Caroline has also performed solo and chamber music with orchestras such as Les Violons du Roy, l\u2019Orchestre Symphonique de Montr\u00e9al, l\u2019Ensemble Caprice, I Musici, La Bande Montr\u00e9al Baroque et La Chamaille. Music director of Sofabec (Soci\u00e9t\u00e9 de fl\u00fbte \u00e0 bec de la Capitale), she is also guest director of the Soci\u00e9t\u00e9 de fl\u00fbte \u00e0 bec de Montr\u00e9al and the Toronto Early Music Players Organization (TEMPO). <\/em>In addition, she is an Accredited Music Therapist.<\/em><\/p>\n www.flutealors.com<\/a><\/strong>[\/vc_column_text][vc_empty_space height=”48″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_btn title=”WATCH: Quinta” color=”info” size=”lg” align=”center” i_icon_fontawesome=”fa fa-video-camera” css_animation=”none” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fyoutu.be%2FrherXTX5M2E||target:%20_blank|”][\/vc_column][vc_column width=”1\/2″][vc_btn title=”WATCH: Jesus Christus” color=”info” size=”lg” align=”center” i_icon_fontawesome=”fa fa-video-camera” css_animation=”none” button_block=”true” add_icon=”true” link=”url:https%3A%2F%2Fyoutu.be%2FMKwKIR-hHO0||target:%20_blank|”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”18px”][vc_column_text]About Quinta<\/em>:<\/strong><\/p>\n \u201c<\/em>In writing for Flute Alors!, I knew that I wanted to leverage their experience with contemporary music idioms and their keen sense of “togetherness” to write something that was on one level very contrapuntal, yet at the same time treated the quartet as one organic whole, blurring the boundaries between polyphony, monophony, and heterophony. Being somewhat of a glutton for punishment, I also wanted to try making long crescendo-decrescendo gestures with an instrument that typically has a relatively narrow dynamic range. This experimentation was enabled by the trust and enthusiasm of my flautist collaborators. The electronics serve to unify the texture, which might otherwise be rendered too atomized by the COVID measures-induced physical distancing; they consist of an echo timed to the dotted eighth rhythm of the flautists\u2019 steady eighth-note pulse, creating a cascade of syncopated sixteenth notes, a \u201ctrick\u201d perhaps first popularized by Pink Floyd in their song \u201cRun Like Hell\u201d: Pink Flute?<\/em>\u201d<\/em> \u2013 Kevin O\u2019Neil, composer<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”48″][vc_separator border_width=”2″][vc_empty_space height=”64″][vc_single_image image=”51734″ img_size=”medium”][vc_empty_space height=”52″][vc_column_text]<\/p>\n Based in Montreal, Kevin O\u2019Neil is a multi-instrumentalist, composer, and respected teacher. He holds a Bachelor\u2019s degree in classical guitar and composition from Dalhousie University, a\u00a0Master’s degree in composition from l\u2019Universit\u00e9 de Montr\u00e9al\u00a0and is currently working on his PhD in Music Education at McGill\u00a0University. He has composed music for film and theatre, and performs is active in several areas of the Montreal music scene, performing frequently onstage and recording in studio.<\/em><\/p>\n www.kevinkoneil.com<\/a><\/strong>[\/vc_column_text][vc_empty_space height=”48″][vc_separator border_width=”2″][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”64″][vc_single_image image=”51736″ img_size=”medium”][vc_empty_space height=”52″][vc_column_text]<\/p>\n With a career in the music industry spanning more than 20 years, Guylaine Lemaire is a renowned violinist and violist, and an experienced arts administrator.\u00a0She has performed with many of Canada\u2019s finest musicians, ensembles and orchestras, and has appeared at virtually every major Canadian festival. Her recordings with the Chamber Players of Canada have all received strong acclaim in Canada and abroad, and receive regular radio play.\u00a0She has served as Executive Director of Thirteen Strings (one of Canada\u2019s few professional chamber orchestras) since 2013, and has also held the position of Artistic Director at CAMMAC since 2017.<\/em><\/p>\n www.cammac.ca\/guylaine-lemaire<\/a><\/strong>[\/vc_column_text][vc_empty_space height=”48″][vc_separator border_width=”2″][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”64″][vc_single_image image=”51732″ img_size=”medium”][vc_empty_space height=”52″][vc_column_text]<\/p>\n After completing a master’s degree in International Relations at Laval University (Quebec) and training in documentary filmmaking at L’inis, Nicolas-Alexandre began his career as a film technician, before becoming a freelance director. Resolutely committed, he is interested in issues related to international development (Cuba, Dominican Republic, Quebec) and human rights. In 2014, his film \u201cCitizens of Nowhere\u201d examined the situation of Haitian workers in the Dominican Republic. Recently, his film on the inhabitants of the North Shore was nominated for a Gemini Award.<\/em><\/p>\nCONTRIBUTORS<\/span><\/h3>\n
DUO DJOKIC-LEBLANC
\nMarc Djokic, violin & Julien Leblanc, piano<\/strong><\/span><\/h4>\nL\u2019HARMONIE DES SAISONS
\nViola da gamba: Margaret Little & M\u00e9lisande Corriveau<\/strong><\/span><\/h4>\nFL\u00dbTE ALORS!
\n<\/strong>Recorders: Vincent Lauzer, Marie-Laurence Primeau, Alexa Raine-Wright, Caroline Tremblay<\/strong><\/span><\/h4>\nCOMPOSER \/ SOUND RECORDING AND EDITING:
\n<\/strong>Kevin O\u2019Neil<\/strong><\/span><\/h4>\nARTISTIC DIRECTION \u2013 CAMMAC:
\n<\/strong>Guylaine Lemaire<\/strong><\/span><\/h4>\nVIDEOGRAPHER:
\n<\/strong>Nicolas-Alexandre Tremblay<\/strong><\/span><\/h4>\n