Coupure de presse

Festival International de Musique Actuelle de Victoriaville, 32nd Edition

Par Stuart Broomer in Musicworks #125 (Canada), 1 juillet 2016
It was a work of brilliant simplicity that began and ended with the quietest sizzle of scratched strings and softly blown reeds strongly suggesting human breath, ultimately crafting a space in which audience and band were one.

The Festival International de Musique Actuelle de Victoriaville (FIMAV) arrives with the late, brief spring of Quebec’s central region, an energizing jolt between winter and summer that sees the flowering of older vines and new life bursting through the earth. This year’s instalment of FIMAV did what it has done very well for many years: present challenging music that can find a substantial audience, while also testing the frontiers with little-known but significant musicians. (…)

Events ranged from afternoon sound artists to late-night avant-rockers, with listeners creating their own paths through the festival’s nineteen performances. Composer-trombonist George Lewis once declared, “what I always wanted: music as a space for reflection on the human condition.” That’s a lofty goal and a rare event, but several groups were able to do it, whether working with or without a script, playing with associates they had either known for fifty years or had just encountered.

One such work was Friday night’s Saumon Bleu, a conduction by French musician Olivier Benoit, directing an ensemble that combined seven members of Montréal’s SuperMusique with seven members of Rimouski’s GGRIL, two of Quebec’s distinguished large improvising ensembles. It was a work of brilliant simplicity that began and ended with the quietest sizzle of scratched strings and softly blown reeds strongly suggesting human breath, ultimately crafting a space in which audience and band were one. (…)