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Miroir des vents (CD) Track listing detail

Miroir des vents

Luc Marcel

  • Year of composition: 2002
  • Duration: 14:23
  • Instrumentation: saxophone quartet
  • Commission: Quasar, with support from the CCA

My work is inspired by the persistent trajectory of a speck of light moving in the dark. The moving of this thin, bright and continuous stroke, becomes its thread. One can mainly perceive a kaleidoscopic play, where everything reflects in a twisted way, due to distorted mirrors.

Luc Marcel [English translation: Vincent Collard]


  • January 25, 2002, L’infini présent, Le Studio — Musée Juste pour rire, Montréal (Québec)

Geyser Ghetto

Michel Frigon

  • Year of composition: 2005
  • Duration: 9:33
  • Instrumentation: saxophone quartet
  • Commission: Quasar, with support from the CALQ

I wanted to take the pressure of the earth as one takes the pressure of a human being to measure the stress we causes it. This is a metaphoric journey which will lead you from the centre of the earth to its surface, pushed by magma’s pressure, to be finally thrown to atmosphere though a geyser’s mouth.

Michel Frigon [English translation: Vincent Collard]


  • May 18, 2005, QuasarAlter ego, Salle Pierre-Mercure — Centre Pierre-Péladeau, Montréal (Québec)


Wolf Edwards

  • Year of composition: 2004
  • Duration: 9:24
  • Instrumentation: saxophone quartet
  • Commission: Quasar, with support from the CCA

This work, whose title means “spark” in Russian, explores the concept of energy transfer, dragging a simple idea though a “gestation” process resulting blocks of various thicknesses. It can be seen as a metaphor of the anarchical system, in which several connate areas grow organically then finally form a dynamic and interactive network.

Wolf Edwards


  • May 27, 2004, QuasarInventions à quatre voix, Lion d’Or, Montréal (Québec)

Giuoco Piano

Farangis Nurulla-Khoja

  • Year of composition: 2006
  • Duration: 10:00
  • Instrumentation: saxophone quartet
  • Commission: Quasar, with support from the CCA

Titled after a chess opening, this piece refers to the idea that music fills a vacuum. Like the beginning of a chess game, sound before music is only potentiality. Then to gauge the strengths one must consider all vectors as a whole — moving a piece will always leave an empty square behind. When a sound fills a vacuum, what does it leaves behind?

Farangis Nurulla-Khoja [English translation: Vincent Collard]


  • February 5, 2006, QuasarVoyages: Montréal — Pays-Bas, Salle Beverley Webster Rolph — Musée d’art contemporain de Montréal, Montréal (Québec)

Pulau Dewata

Claude Vivier

  • Year of composition: 1977
  • Arrangement: Arr. Walter Boudreau, 1983
  • Duration: 12:07
  • Instrumentation: saxophone quartet

Pulau Dewata (Balinese for “Isle of the Gods”) was written after a journey to the Far-East, which, in 1977, led Claude Vivier as far as the Island of Bali. Dedicated to the Balinese, the work is described in the composer’s own words as a “tribute of love for a wonderful people who taught me so much.” Initially written for the McGill Percussion Ensemble, Pulau Dewata does not include specific instrumentation. This is pure, four-part music which can be adapted to “any combination of instruments” following certain instructions determined beforehand by the composer. The work is a succession of nine melodies (comprising from one to nine tones) employing modes and motifs reminiscent of those used by Balinese Gamelans. Although repetitive in nature, the music develops slowly through the addition of notes to the melodies and by subtle rhythmic inventions of the melodic poles (gruppettos, embellishments, etc.). The work can be divided roughly into four extensive, distinct sections preceded by a short introduction (melody 1 on tone; B flat) and a “signature” characteristic of Balinese ensembles.

Le Chant de l’inaudible

Jean-François Laporte

  • Year of composition: 2000
  • Duration: 14:56
  • Instrumentation: saxophone quartet
  • Commission: Quasar, with support from the CCA

Born after my research on multiple sounds on the saxophone, this minimalist work embroided with acoustical phenomenons explores the sound in a slow, continuous movement. This music of colours is lead by the evolution of a very mild stream of breaths which wind and unwind with each other. Purely deploying a layer of sustained sounds, the work expounds the progressive flow of superposition, then a silent evaporation.

Jean-François Laporte [English translation: Vincent Collard]


  • April 26, 2001, Quasar(S)AXE(S), La Chapelle, Montréal (Québec)

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