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Gilles Tremblay (composer)

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Gilles Tremblay
Born(1932-09-06)September 6, 1932
DiedJuly 27, 2017(2017-07-27) (aged 84)
Montreal, Quebec
OccupationsComposer, teacher

Gilles Tremblay, OQ CM (September 6, 1932 – July 27, 2017) was a Canadian composer and teacher.

Early life and education

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Born in Arvida, Quebec, Tremblay studied at the conservatories of Québec in Montréal and Paris (1954–61), where his teachers included Olivier Messiaen (analysis), Andrée Vaurabourg-Honegger (counterpoint), Yvonne Loriod (piano), and Maurice Martenot (inventor of the ondes Martenot).[1][2] He also attended Karlheinz Stockhausen's summer courses at Darmstadt, where he became interested in electro-acoustic techniques.[3]

Career

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Tremblay returned to Quebec in 1961. He taught musical analysis at the Centre d'arts Orford [fr] and at the Conservatoire de musique du Québec in Quebec City.[3] Beginning in 1962, and for many years, he taught composition at the Conservatoire de musique du Québec à Montréal. Among his pupils are Serge Arcuri [fr], Raynald Arseneault, Yves Daoust, François Dompierre, Marc Hyland, Ramon Lazkano, Robin Minard, Éric Morin, Silvio Palmieri, Micheline Coulombe Saint-Marcoux, Isabelle Panneton [fr], André Villeneuve, Claude Vivier, and Wolf Edwards.[4]

Early in his career he performed as a specialist on the ondes Martenot.[5]

A central figure in Quebec's contemporary classical music scene, Tremblay was active in many capacities including as president and artistic director of the Société de musique contemporaine du Québec.[6]

In 1983, a six-record set of Tremblay's music was included in the Anthology of Canadian Music series. The Tremblay portrait in the Canadian Composers Portraits series was released in 2003.[7]

He was the recipient of many honours including the Denise-Pelletier award and Officer of the National Order of Quebec (1991). In 2012, he was named to the Order of Canada.[6]

Tremblay died July 27, 2017, in the Montreal borough of Côte-des-Neiges–Notre-Dame-de-Grâce.[3]

Compositions (selective list)

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  • Mobile, for violin and piano (1962)
  • Champs I, for piano and 2 percussionists (1965)
  • Cantique de durées, for seven groups of instruments (1960)
  • Sonorisation du Pavillon du Québec, 24-channel electronic music (1967)
  • Souffles (Champs II), for 2 flutes, oboe, clarinet, horn, 2 trumpets, 2 trombones, piano, 2 percussionists, and contrabass (1968)
  • Vers (Champs III), for 2 flutes, clarinet, trumpet, horn, 3 percussionists, 3 violins, and contrabass (1969)
  • Jeux de solstices, for orchestra (1974)
  • Oralléluiants, for soprano, bass clarinet, horn, 2 percussionists, and 3 contrabasses (1975)
  • Fleuves, for piano, percussion, and orchestra (1976)
  • Vers le soleil, for orchestra (1978)
  • Le Signe du lion, for horn and tam-tam (1981)
  • Triojubilus "À Raphaël", for flute, harp, and cowbells (1985)
  • Les Vêpres de la Vierge, for soprano and orchestra (1986)
  • Musique du feu, for piano and orchestra (1991)
  • L'arbre de Borobudur, for horn, 2 harps, double bass, ondes Martenot, 2 percussionists, and gamelan ensemble (1994)
  • L'espace du coeur (Miron-Machaut), for mixed voices and percussion (1997)
  • Les pierres crieront, for cello and large orchestra (1998)
  • A quelle heure commence le temps?, for baritone, percussion, piano, and orchestra (1999)
  • L'appel de Kondiaronk: symphonie portuaire, environmental work for battle sirens and 2 locomotives (2000)
  • String Quartet 'Croissant' (2001)
  • En partage (Concerto), for viola and orchestra (2002)
  • L'eau qui danse, la pomme qui chante et l'oiseau qui dit la vérité, Opéra féerie based on "The Dancing Water, the Singing Apple, and the Speaking Bird" (2009)

Writings

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  • 1968. "Note pour Cantique de durées." Revue d'esthetique 21, nos. 2–4 ("Musiques nouvelles"): 51–58.
  • 1994. "Gilles Tremblay : réflexions". Circuit, musiques contemporaines. 5 (1).

References

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Sources

Further reading

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  • Auzolle, Cécile (2010). "De la résurgence du merveilleux : l'exemple de L'Eau qui danse, la Pomme qui chante et l'Oiseau qui dit la vérité, un opéra de Gilles Tremblay et Pierre Morency". Circuit (in French). 20 (3): 9–42. doi:10.7202/044859ar.
  • Bradley, Ian L. (1982). "Gilles Tremblay". Twentieth Century Canadian Composers. Vol. 2. GLC Publishers. pp. 197–214.
  • Lefebvre, Marie-Thérèse. "Le compositeur Gilles Tremblay : un artiste croyant et engagé". Les Cahiers des dix (in French) (64): 83–120.
  • Mather, Bruce (1974). "Gilles Tremblay". In Vinton, John (ed.). Dictionary of Contemporary Music. Dutton. pp. 766–67.
  • Mather, Bruce (1975). "Gilles Tremblay". In MacMillan, Keith; Beckwith, John (eds.). Contemporary Canadian Composers. Oxford University Press. pp. 75–77.
  • Mather, Bruce (1995). "Gilles Tremblay". The New Grove Dictionary of Music and Musicians. Vol. 19. Macmillan. p. 130.
  • Peyser, Joan (1976). Boulez: Composer, Conductor, Enigma. New York: Schirmer Books. ISBN 0-02-871700-7.
  • Villeneuve, André (2001). "Souffles (Champs II), the Mobile, and the Musical Language of Gilles Tremblay". Ex tempore. 10 (2): 58–147.
  • "Gilles Tremblay, ou le plain-chant contemporain". Circuit, musiques contemporaines (in French). 20 (3). 2010.
  • "Musique de Gilles Tremblay / Opéra et pédagogie". Les Cahiers de la Société québécoise de recherche en musique (in French). 12 (1–2): 7–148. 2011.
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