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Commutation Ensemble SuperMusique (ESM)

  • Canada Council for the Arts • SODEC

Data sharing — transfer — succession — transmission — change — replacement — renewal… Commutation

continues its exploratory adventure through the vast universe of graphic scores. For the occasion, Joane Hétu and Danielle Palardy Roger have gathered an ensemble featuring winds, electronics and percussion to play scores from the 1920s until today. A century separates the pieces by Luigi Russolo and Émilie Girard-Charest, do you hear it?


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Ensemble SuperMusique (ESM)


About Commutation

Featuring compositions that were presented in concert in Montréal on November 22, 2018 in collaboration with Le Vivier / Carrefour des musiques nouvelles, Commutation is yet another leg of Ensemble SuperMusique’s adventurous journey exploring graphic scores from the beginning of the last century to our present day. What have yesterday’s music innovators passed on to those of today? What do cultural explorers pass on from generation to generation? What have we done with their precious legacy, and how did this legacy develop? These very broad questions — and their just as broad answers — addressing the fundamental issue of how cultural inheritances are passed on to new practitioners are at the very core of Commutation. One thing is certain, however: it seems that this peculiar way of “writing” music is still firmly established, and actually has been on the rise for the last twenty years. It also seems quite clear that the main objective of most of the composers who have been — and still are — writing graphic scores has always been, and still is today, to offer improvisers the possibility to openly interpret their scores with a high degree of variability; and that their scores indeed allow instrumentalists to always become full-fledged creators themselves. For this project, we selected five graphic scores created between 1914 and 2018 by Luigi Russolo, Anestis Logothetis, Fred Frith, Émilie Girard-Charest and Maxime Daigneault. Each of these scores is like a treasure hunt or a new path to follow; and each composer has developed his or her own language and aesthetic sensibilities. Joane Hétu and Danielle Palardy Roger thoroughly analyzed each composer’s set of codes and introduced the members of the ensemble to their peculiar ways of “mapping” music. The instrumentalists then found their own way to navigate these charts and bring life and colour to these scores.

Danielle Palardy Roger [English translation: Fabrizio Gilardino, x-20]

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