By Dujka Smoje
In connection with the exhibition Lyonel Feininger: From the Bauhaus to Manhattan
The home of choro and bossa nova, Brazil today vibrates with the warm sounds of the guitar, a living testament to the country’s cultural mosaic.
By Dujka Smoje
An exploration of a rich and complex musical idea, from the first anonymous canon Sumer is icumen in (thirteenth century) until Frescobaldi’s Fiori musicali (1637). Between the voice and the instrument, the caccia, ricercar, canzona, motet, capriccio, tiento, fantasia, invention and toccata freely explore all the secrets of counterpoint. The fugue searches for itself in these miniatures, before discovering both its name and its destiny.
By Dujka Smoje
How is the linear thinking of the canon transformed into a vertical tapestry of several voices? This lecture is the continuation of the history of the fugue — now known by its real name — until its culmination in the work of Bach.
By Dujka Smoje
The fugue’s life force did not expire with Bach. The rules of the tonality game (ludus tonalis) were surpassed by astonishing possibilities for renewal:polymodal, atonal or polytonal fugues. What is the secret to this genre’s longevity? What do the fugues of Beethoven, Ravel, Stravinsky, Satie, Berg, Bartók and Messiaen all have in common?
Created by the musical production company La Nef
Suzanne De Serres, author and composer
In celebration of the 150th anniversary of Claude Debussy’s birth, works for solo piano and readings (in French) from his correspondence. A co-production with the Observatoire interdisciplinaire de création et de recherche en musique (OICRM) and the Faculty of Music of the University of Montreal, in connection with the colloquium L’Héritage de Claude Debussy: du rêve pour les générations futures.
François Chaplin, piano
Jean Marchand, narrator
