PRLUDES & RHAPSODIES

DES PLANTES AUX PRLUDES & RHAPSODIES

Six annes se sont dj coules depuis la sortie de notre dernier enregistrement. Nos cuivres
sunissaient alors aux sonorits de lorganiste Mlanie Barney pour linterprtation dune uvre
emblmatique du rpertoire symphonique : Les Plantes de Gustav Holst. Lalbum sest valu la
rputation dun des meilleurs disques daudiophile jamais enregistrs, simposant comme une
rfrence pour les critiques audio du Canada, des tats-Unis et de lAsie. Slectionn pour un
prix de lADISQ, cet enregistrement tonnamment orchestral a sduit autant les adeptes de Holst
que ceux de la musique pour orgue et cuivres. La barre savrait donc particulirement haute
pour le disque qui allait le suivre.
Entre-temps, nous avons multipli les prestations dun ocan lautre du Canada, atteignant la
1000e reprsentation de lensemble en carrire. Cest ainsi plus de 200 000 spectateurs qui ont
t sduits par nos concerts de musique de chambre et nos spectacles jeunesse. En 2014, nous
avons aussi remport un deuxime prix OPUS, soit pour Concert de lanne , ce qui confirme
la place de choix que Buzz occupe parmi les meilleurs ensembles qubcois de musique de
concert.
Nous revoici donc avec un projet denregistrement tout aussi audacieux que celui des Plantes,
pour lequel les morceaux ont t soigneusement runis sous le thme de Prludes & Rhapsodies .
Cherchant toujours sortir des sentiers battus, nous y prsentons des uvres phares sous un
nouvel clairage grce de superbes arrangements sur mesure signs par les Montralais Louis
Babin et Christopher Smith pour les versions indites de mme que par lAmricain Ralph Sauer
pour la pice de Brahms. Ainsi, selon une gomtrie variable au fil des pices, nos cuivres se
fondent les uns aux autres ou sentrelacent avec dautres instruments pour gnrer une riche
palette sonore.
cet effet, nous tions soucieux de collaborer avec la fine fleur des interprtes canadiens, ce
qui nous a motivs faire appel la harpiste Valrie Milot et au pianiste Matt Herskowitz. Leurs
indniables qualits musicales enrichissent grandement ce projet et nous sommes trs heureux
quils fassent partie de cette aventure! Nous esprons que vous aurez tout autant de plaisir
couter ce disque que nous en avons eu le crer!

DES PLANTES AUX PRLUDES & RHAPSODIES

Six annes se sont dj coules depuis la sortie de notre dernier enregistrement. Nos cuivres
sunissaient alors aux sonorits de lorganiste Mlanie Barney pour linterprtation dune uvre
emblmatique du rpertoire symphonique : Les Plantes de Gustav Holst. Lalbum sest valu la
rputation dun des meilleurs disques daudiophile jamais enregistrs, simposant comme une
rfrence pour les critiques audio du Canada, des tats-Unis et de lAsie. Slectionn pour un
prix de lADISQ, cet enregistrement tonnamment orchestral a sduit autant les adeptes de Holst
que ceux de la musique pour orgue et cuivres. La barre savrait donc particulirement haute
pour le disque qui allait le suivre.
Entre-temps, nous avons multipli les prestations dun ocan lautre du Canada, atteignant la
1000e reprsentation de lensemble en carrire. Cest ainsi plus de 200 000 spectateurs qui ont
t sduits par nos concerts de musique de chambre et nos spectacles jeunesse. En 2014, nous
avons aussi remport un deuxime prix OPUS, soit pour Concert de lanne , ce qui confirme
la place de choix que Buzz occupe parmi les meilleurs ensembles qubcois de musique de
concert.
Nous revoici donc avec un projet denregistrement tout aussi audacieux que celui des Plantes,
pour lequel les morceaux ont t soigneusement runis sous le thme de Prludes & Rhapsodies .
Cherchant toujours sortir des sentiers battus, nous y prsentons des uvres phares sous un
nouvel clairage grce de superbes arrangements sur mesure signs par les Montralais Louis
Babin et Christopher Smith pour les versions indites de mme que par lAmricain Ralph Sauer
pour la pice de Brahms. Ainsi, selon une gomtrie variable au fil des pices, nos cuivres se
fondent les uns aux autres ou sentrelacent avec dautres instruments pour gnrer une riche
palette sonore.
cet effet, nous tions soucieux de collaborer avec la fine fleur des interprtes canadiens, ce
qui nous a motivs faire appel la harpiste Valrie Milot et au pianiste Matt Herskowitz. Leurs
indniables qualits musicales enrichissent grandement ce projet et nous sommes trs heureux
quils fassent partie de cette aventure! Nous esprons que vous aurez tout autant de plaisir
couter ce disque que nous en avons eu le crer!

FROM THE PLANETS TO PRELUDES & RHAPSODIES

It has already been six years since the release of our previous recording. Our brass instruments
were then intermingling with the tones of organist Mlanie Barney for the rendition of an
iconic work of the symphonic repertoire: Gustav Holsts The Planets. The album has earned the
reputation of being one of the best audiophile recordings ever made, establishing itself as a
reference for audio critics throughout Canada, the United States and Asia. An ADISQ award
nominee, this astonishingly orchestral recording has been delighting fans of Holst and of organand-brass music alike. The bar was therefore set particularly high for the album that was to
follow.

T
R
E

C
N
O

C
E
L IN
L
SA LO
O DE
T
HO

In the meantime, we have been performing repeatedly across Canada, the ensemble having
reached a career high of 1,000 shows. In so doing, we have won over more than 200,000
spectators with our chamber music concerts and young-audience shows. In 2014, we also won a
second OPUS award, namely for Concert of the Year, which confirms the place of choice that
Buzz occupies among the very best concert music ensembles in Quebec.
Here we are again, then, with a recording project that is just as bold as The Planets and for
which the pieces have been thoughtfully brought together under the theme of Preludes &
Rhapsodies. Striving constantly to venture off the beaten path, we present classic works in a
new light thanks to superb custom arrangements by Montrealers Louis Babin and Christopher
Smith for the new versions, as well as by American Ralph Sauer for the Brahms piece. Following
a variable geometry throughout the program, our brasses blend with one another or interlace
with other instruments, generating a rich sound palette.
With this in mind, we were keen on collaborating with some of the finest musicians Canada has to
offer, leading us to call upon harpist Valrie Milot and pianist Matt Herskowitz. Their undeniable
musical qualities have greatly enriched this project and we are very happy that they are part
of this adventure! We hope that you will enjoy listening to this album as much as we enjoyed
recording it!

FROM THE PLANETS TO PRELUDES & RHAPSODIES

It has already been six years since the release of our previous recording. Our brass instruments
were then intermingling with the tones of organist Mlanie Barney for the rendition of an
iconic work of the symphonic repertoire: Gustav Holsts The Planets. The album has earned the
reputation of being one of the best audiophile recordings ever made, establishing itself as a
reference for audio critics throughout Canada, the United States and Asia. An ADISQ award
nominee, this astonishingly orchestral recording has been delighting fans of Holst and of organand-brass music alike. The bar was therefore set particularly high for the album that was to
follow.

T
R
E

C
N
O

C
E
L IN
L
SA LO
O DE
T
HO

In the meantime, we have been performing repeatedly across Canada, the ensemble having
reached a career high of 1,000 shows. In so doing, we have won over more than 200,000
spectators with our chamber music concerts and young-audience shows. In 2014, we also won a
second OPUS award, namely for Concert of the Year, which confirms the place of choice that
Buzz occupies among the very best concert music ensembles in Quebec.
Here we are again, then, with a recording project that is just as bold as The Planets and for
which the pieces have been thoughtfully brought together under the theme of Preludes &
Rhapsodies. Striving constantly to venture off the beaten path, we present classic works in a
new light thanks to superb custom arrangements by Montrealers Louis Babin and Christopher
Smith for the new versions, as well as by American Ralph Sauer for the Brahms piece. Following
a variable geometry throughout the program, our brasses blend with one another or interlace
with other instruments, generating a rich sound palette.
With this in mind, we were keen on collaborating with some of the finest musicians Canada has to
offer, leading us to call upon harpist Valrie Milot and pianist Matt Herskowitz. Their undeniable
musical qualities have greatly enriched this project and we are very happy that they are part
of this adventure! We hope that you will enjoy listening to this album as much as we enjoyed
recording it!

PRLUDES & RHAPSODIES

Rhapsodie hongroise no 2 09:46
Franz Liszt (1811-1886)
Arr. Sylvain Lapointe, Julien Proulx & Louis Babin
La fille aux cheveux de lin 02:21
Claude Debussy (1862-1918)
Arr. Christopher B.J. Smith
Prlude laprs-midi dun faune 09:40
Claude Debussy
Arr. Christopher B.J. Smith
3 Preludes 06:18
George Gershwin (1898-1937)
Arr. Louis Babin
Prelude I [01:33]
Prelude II [03:37]
Prelude III [01:08]
Rhapsody in Blue 17:05
George Gershwin
Arr. Louis Babin
Elf Choralvorspiele 09:09
(Onze Prludes de choral)
Johannes Brahms (1833-1897)
Arr. Ralph Sauer
No 7 O Gott, du frommer Gott [03:34]
( Dieu, Dieu plein de bont)

No 8 Es ist ein Ros entsprungen [01:57]

(Une tendre rose a jailli dune racine)

No 9 Herzlich tut mich verlangen [01:21]

(De tout cur jaspire une fin paisible)

No 10 Herzlich tut mich verlangen (seconde version) [02:17]

PRLUDES & RHAPSODIES : LIBERT ET INNOVATION

Avec Prludes & Rhapsodies, Buzz aborde des uvres accessibles et familires au moyen
darrangements personnaliss innovateurs. Il tait dautant plus opportun de soffrir la libert de
ces arrangements que, dune part, de nombreux compositeurs ont transcrit jusqu leurs propres
uvres au fil des sicles. Dautre part, des prludes et des rhapsodies, ce sont historiquement
des compositions elles-mmes dj la forme relativement libre ( la diffrence, par exemple, des
fugues, sonates et concertos dont la forme est plus stricte). Ctait le cas ds les fameux Prludes
et fugues pour orgue de Jean-Sbastien Bach, dans la premire moiti du XVIIIe sicle. Quant aux
rhapsodies, apparues au XIXe sicle, elles se rvlent habituellement de forme encore plus libre
et fantaisiste que les prludes et elles sinspirent notamment de thmes folkloriques ou nationaux.
Ainsi, la particulirement clbre Rhapsodie hongroise no 2 de Franz Liszt sinscrit parmi les 19
rhapsodies quil composa pour piano vers 1850. Liszt, originaire de Hongrie, faisait alors carrire
partout en Europe comme compositeur de gnie et pianiste virtuose. Bien que ses Rhapsodies
sinspirent de mlodies que jouaient traditionnellement les tsiganes de son pays natal, ce sont
nanmoins des uvres sophistiques de lpoque romantique. En effet, elles furent crites par
un compositeur qui fut form dans la tradition classique Vienne en ctoyant Salieri, Schubert et
Beethoven et qui, de son vivant, partageait avec son ami Richard Wagner lune des plus grandes
renommes dEurope. Luvre se prte dautant mieux un arrangement que Liszt fut lui-mme un
fervent et prolifique transcripteur, y compris de ses propres compositions.
Au tournant du XIXe sicle (peu aprs la mort de Liszt), Claude Debussy et certains autres
compositeurs taient en voie de dlaisser lapproche tonale que le post-Romantisme avait amen
jusquaux limites de ses possibilits expressives (Mahler, Richard Strauss et, alors triomphant,
Wagner). Pour sa part, Debussy (comme Ravel) aurait t fortement influenc par les musiques
javanaises quil avait entendues lExposition universelle de 1889 Paris. (LExposition, pour laquelle
la tour Eiffel a t construite, y tait tenue loccasion du centenaire de la Rvolution franaise.) Il se
serait donc gnralement inspir des gammes pentatoniques et audaces rythmiques de Java, mais
aussi de lexotisme de lEspagne, de la Russie et, par lentremise du legs modal du chant grgorien, de
jusqu la Grce antique. Par sa force crative et par sa grande indpendance desprit, il finit par se
librer du carcan qutait devenu la surcharge formelle de lidologie artistique hrite du XIXe sicle.

PRLUDES & RHAPSODIES

Rhapsodie hongroise no 2 09:46
Franz Liszt (1811-1886)
Arr. Sylvain Lapointe, Julien Proulx & Louis Babin
La fille aux cheveux de lin 02:21
Claude Debussy (1862-1918)
Arr. Christopher B.J. Smith
Prlude laprs-midi dun faune 09:40
Claude Debussy
Arr. Christopher B.J. Smith
3 Preludes 06:18
George Gershwin (1898-1937)
Arr. Louis Babin
Prelude I [01:33]
Prelude II [03:37]
Prelude III [01:08]
Rhapsody in Blue 17:05
George Gershwin
Arr. Louis Babin
Elf Choralvorspiele 09:09
(Onze Prludes de choral)
Johannes Brahms (1833-1897)
Arr. Ralph Sauer
No 7 O Gott, du frommer Gott [03:34]
( Dieu, Dieu plein de bont)

No 8 Es ist ein Ros entsprungen [01:57]

(Une tendre rose a jailli dune racine)

No 9 Herzlich tut mich verlangen [01:21]

(De tout cur jaspire une fin paisible)

No 10 Herzlich tut mich verlangen (seconde version) [02:17]

PRLUDES & RHAPSODIES : LIBERT ET INNOVATION

Avec Prludes & Rhapsodies, Buzz aborde des uvres accessibles et familires au moyen
darrangements personnaliss innovateurs. Il tait dautant plus opportun de soffrir la libert de
ces arrangements que, dune part, de nombreux compositeurs ont transcrit jusqu leurs propres
uvres au fil des sicles. Dautre part, des prludes et des rhapsodies, ce sont historiquement
des compositions elles-mmes dj la forme relativement libre ( la diffrence, par exemple, des
fugues, sonates et concertos dont la forme est plus stricte). Ctait le cas ds les fameux Prludes
et fugues pour orgue de Jean-Sbastien Bach, dans la premire moiti du XVIIIe sicle. Quant aux
rhapsodies, apparues au XIXe sicle, elles se rvlent habituellement de forme encore plus libre
et fantaisiste que les prludes et elles sinspirent notamment de thmes folkloriques ou nationaux.
Ainsi, la particulirement clbre Rhapsodie hongroise no 2 de Franz Liszt sinscrit parmi les 19
rhapsodies quil composa pour piano vers 1850. Liszt, originaire de Hongrie, faisait alors carrire
partout en Europe comme compositeur de gnie et pianiste virtuose. Bien que ses Rhapsodies
sinspirent de mlodies que jouaient traditionnellement les tsiganes de son pays natal, ce sont
nanmoins des uvres sophistiques de lpoque romantique. En effet, elles furent crites par
un compositeur qui fut form dans la tradition classique Vienne en ctoyant Salieri, Schubert et
Beethoven et qui, de son vivant, partageait avec son ami Richard Wagner lune des plus grandes
renommes dEurope. Luvre se prte dautant mieux un arrangement que Liszt fut lui-mme un
fervent et prolifique transcripteur, y compris de ses propres compositions.
Au tournant du XIXe sicle (peu aprs la mort de Liszt), Claude Debussy et certains autres
compositeurs taient en voie de dlaisser lapproche tonale que le post-Romantisme avait amen
jusquaux limites de ses possibilits expressives (Mahler, Richard Strauss et, alors triomphant,
Wagner). Pour sa part, Debussy (comme Ravel) aurait t fortement influenc par les musiques
javanaises quil avait entendues lExposition universelle de 1889 Paris. (LExposition, pour laquelle
la tour Eiffel a t construite, y tait tenue loccasion du centenaire de la Rvolution franaise.) Il se
serait donc gnralement inspir des gammes pentatoniques et audaces rythmiques de Java, mais
aussi de lexotisme de lEspagne, de la Russie et, par lentremise du legs modal du chant grgorien, de
jusqu la Grce antique. Par sa force crative et par sa grande indpendance desprit, il finit par se
librer du carcan qutait devenu la surcharge formelle de lidologie artistique hrite du XIXe sicle.

La fille aux cheveux de lin, une uvre suggre par un pome du mme nom de Leconte de
Lisle dans un recueil publi en 1852, est tire du premier livre de douze Prludes que composa
Debussy pour le piano en 1910. limage de la jeune fille que le pome dcrit, la pice savre
dune criture plus ingnue et facile dapproche que ce quon attribue habituellement au
compositeur. Elle reflte nanmoins tout le charme, toute la nostalgie intense et toute la richesse
de la palette sonore qui sont indissociables de ce compositeur au gnie singulier. En ce tournant
du sicle, Debussy, trs peu conformiste et particulirement autonome, allait effectivement
faire prendre un virage incontournable la composition musicale par des conceptions sonores
jusque-l inconnues. Comme orchestrateur de grand talent, il aurait aussi srement apprci
quun arrangement lui rende ainsi hommage.
Pour les envoles impressionnistes de lincomparable Prlude laprs-midi dun faune de
Claude Debussy (1894), la harpe la fois suave et prsente de Valrie Milot se joint aux cuivres de
Buzz dans un quilibre tonnant. Cest par grand respect pour le pome Laprs-midi dun faune
de son compatriote Stphane Mallarm qui linspira que Debussy eut la dlicatesse de prciser
que ctait dun prlude au pome dont il sagissait. Luvre est rapidement devenue parmi les
plus emblmatiques du dbut de lre moderne, y compris par lentremise de son adaptation pour
les Ballets russes de Serge de Diaghilev. Quant au prsent arrangement, il prserve la palette
feutre et trs varie de la composition originale, entre autres grce diverses sourdines et
une instrumentation judicieuse (trompettes de divers tons, bugle se fondant au cor).
Peu aprs la mort de Debussy, cest un compositeur du Nouveau-Monde qui fit son tour
sa marque par loriginalit de son langage musical : lindmodable George Gershwin,
vraisemblablement le plus clbre des compositeurs amricains. N dimmigrants russes en
1898 New York, un vritable carrefour dinfluences et dartistes, Gershwin sappropria trs
vite lidiome musical naissant qutait le jazz amricain, et ce, tant comme pianiste que comme
compositeur talentueux et prometteur. Il se tailla dabord une rputation par la composition de
chansons pour les petits ensembles (combos) qui taient populaires lpoque.

Ses 3 Preludes pour piano seul sortirent en 1926, lesquels allaient rapidement devenir des
standards du rpertoire. Pour Buzz, aborder Gershwin devenait le prtexte tout indiqu pour
sallier au pianiste extraordinaire quest Matt Herskowitz. Le dfi que devait cependant relever
notre arrangeur consistait non pas faire la rduction dune partition orchestrale (puisque
inexistante) mais plutt de transcrire la pice pour piano seul en pice pour piano et quintette
de cuivres.
Cest toutefois ds 1924 que Gershwin connut un succs fulgurant, soit avec sa Rhapsody in Blue
pour piano et orchestre qui avait t une commande pour une uvre orchestrale srieuse
(en contraste avec ses chansons populaires). Dans notre arrangement, quintette et soliste
russissent voquer toute lintensit dun orchestre symphonique, et ce, ds la clbre
introduction non plus la clarinette mais plutt par sa transcription la trompette et ainsi de
suite jusquaux derniers vibrants accords.
Quant Johannes Brahms la diffrence de linnovation trs libre de Liszt, Debussy et
Gershwin , il reprsente plutt la synthse quilibre des styles de son poque (1833-1897).
Ce sont ainsi le classicisme et le romantisme qui se refltent dans ses Onze Prludes de choral
(Elf Choralvorspiele) originalement composs pour orgue. Mme plus, ces Prludes sont bass
sur des chorals de tradition luthrienne (remontant donc jusquen 1524) et forment un ultime
hommage au legs musical de Jean-Sbastien Bach (dcd en 1750). Il sagit dune uvre de
grande maturit qui sera publie posthume, considre comme le dernier chef-duvre de
Brahms. Ces Prludes savrent ainsi un reflet de la tradition musicale germanique des trois
sicles prcdents telle quassimile et transcende par le grand matre quest Brahms. Sept des
onze mouvements forment une bouleversante mditation sur la mort alors que Brahms pleure la
mort rcente de sa muse Clara Schumann et quil se sait lui-mme en fin de vie tandis que sa
sant se dtriore gravement. Dans le prsent arrangement, Buzz interprte quatre des onze
Prludes, savoir le no 7 O Gott, du frommer Gott ( Dieu, Dieu plein de bont, sur la foi, lamour
et lespoir), le no 8 Es ist ein Ros entsprungen (Une tendre rose a jailli dune racine, daprs un
cantique de Nol) et les nos 9 et 10 Herzlich tut mich verlangen (De tout cur jaspire une fin
paisible, 2 versions musicales sur la fin de la vie). La sublimit faite musique.

La fille aux cheveux de lin, une uvre suggre par un pome du mme nom de Leconte de
Lisle dans un recueil publi en 1852, est tire du premier livre de douze Prludes que composa
Debussy pour le piano en 1910. limage de la jeune fille que le pome dcrit, la pice savre
dune criture plus ingnue et facile dapproche que ce quon attribue habituellement au
compositeur. Elle reflte nanmoins tout le charme, toute la nostalgie intense et toute la richesse
de la palette sonore qui sont indissociables de ce compositeur au gnie singulier. En ce tournant
du sicle, Debussy, trs peu conformiste et particulirement autonome, allait effectivement
faire prendre un virage incontournable la composition musicale par des conceptions sonores
jusque-l inconnues. Comme orchestrateur de grand talent, il aurait aussi srement apprci
quun arrangement lui rende ainsi hommage.
Pour les envoles impressionnistes de lincomparable Prlude laprs-midi dun faune de
Claude Debussy (1894), la harpe la fois suave et prsente de Valrie Milot se joint aux cuivres de
Buzz dans un quilibre tonnant. Cest par grand respect pour le pome Laprs-midi dun faune
de son compatriote Stphane Mallarm qui linspira que Debussy eut la dlicatesse de prciser
que ctait dun prlude au pome dont il sagissait. Luvre est rapidement devenue parmi les
plus emblmatiques du dbut de lre moderne, y compris par lentremise de son adaptation pour
les Ballets russes de Serge de Diaghilev. Quant au prsent arrangement, il prserve la palette
feutre et trs varie de la composition originale, entre autres grce diverses sourdines et
une instrumentation judicieuse (trompettes de divers tons, bugle se fondant au cor).
Peu aprs la mort de Debussy, cest un compositeur du Nouveau-Monde qui fit son tour
sa marque par loriginalit de son langage musical : lindmodable George Gershwin,
vraisemblablement le plus clbre des compositeurs amricains. N dimmigrants russes en
1898 New York, un vritable carrefour dinfluences et dartistes, Gershwin sappropria trs
vite lidiome musical naissant qutait le jazz amricain, et ce, tant comme pianiste que comme
compositeur talentueux et prometteur. Il se tailla dabord une rputation par la composition de
chansons pour les petits ensembles (combos) qui taient populaires lpoque.

Ses 3 Preludes pour piano seul sortirent en 1926, lesquels allaient rapidement devenir des
standards du rpertoire. Pour Buzz, aborder Gershwin devenait le prtexte tout indiqu pour
sallier au pianiste extraordinaire quest Matt Herskowitz. Le dfi que devait cependant relever
notre arrangeur consistait non pas faire la rduction dune partition orchestrale (puisque
inexistante) mais plutt de transcrire la pice pour piano seul en pice pour piano et quintette
de cuivres.
Cest toutefois ds 1924 que Gershwin connut un succs fulgurant, soit avec sa Rhapsody in Blue
pour piano et orchestre qui avait t une commande pour une uvre orchestrale srieuse
(en contraste avec ses chansons populaires). Dans notre arrangement, quintette et soliste
russissent voquer toute lintensit dun orchestre symphonique, et ce, ds la clbre
introduction non plus la clarinette mais plutt par sa transcription la trompette et ainsi de
suite jusquaux derniers vibrants accords.
Quant Johannes Brahms la diffrence de linnovation trs libre de Liszt, Debussy et
Gershwin , il reprsente plutt la synthse quilibre des styles de son poque (1833-1897).
Ce sont ainsi le classicisme et le romantisme qui se refltent dans ses Onze Prludes de choral
(Elf Choralvorspiele) originalement composs pour orgue. Mme plus, ces Prludes sont bass
sur des chorals de tradition luthrienne (remontant donc jusquen 1524) et forment un ultime
hommage au legs musical de Jean-Sbastien Bach (dcd en 1750). Il sagit dune uvre de
grande maturit qui sera publie posthume, considre comme le dernier chef-duvre de
Brahms. Ces Prludes savrent ainsi un reflet de la tradition musicale germanique des trois
sicles prcdents telle quassimile et transcende par le grand matre quest Brahms. Sept des
onze mouvements forment une bouleversante mditation sur la mort alors que Brahms pleure la
mort rcente de sa muse Clara Schumann et quil se sait lui-mme en fin de vie tandis que sa
sant se dtriore gravement. Dans le prsent arrangement, Buzz interprte quatre des onze
Prludes, savoir le no 7 O Gott, du frommer Gott ( Dieu, Dieu plein de bont, sur la foi, lamour
et lespoir), le no 8 Es ist ein Ros entsprungen (Une tendre rose a jailli dune racine, daprs un
cantique de Nol) et les nos 9 et 10 Herzlich tut mich verlangen (De tout cur jaspire une fin
paisible, 2 versions musicales sur la fin de la vie). La sublimit faite musique.

PRELUDES & RHAPSODIES

Hungarian Rhapsody No. 2
Franz Liszt (1811-1886)
Arr. Sylvain Lapointe, Julien Proulx & Louis Babin

PRELUDES & RHAPSODIES: FREEDOM AND INNOVATION

09:46

The Girl With the Flaxen Hair 02:21

Claude Debussy (1862-1918)
Arr. Christopher B.J. Smith
Prelude to The Afternoon of a Faun 09:40
Claude Debussy
Arr. Christopher B.J. Smith
3 Preludes 06:18
George Gershwin (1898-1937)
Arr. Louis Babin
Prelude I
[01:33]
Prelude II
[03:37]
Prelude III
[01:08]
Rhapsody in Blue 17:05
George Gershwin
Arr. Louis Babin
Elf Choralvorspiele 09:09
(Eleven Chorale Preludes)
Johannes Brahms (1833-1897)
Arr. Ralph Sauer
No. 7 O Gott, du frommer Gott [03:34]
(O God, Thou Faithful God)

No. 8 Es ist ein Ros entsprungen [01:57]

(Lo, How A Rose Eer Blooming)

No. 9 Herzlich tut mich verlangen [01:21]

(My Heart Is Filled With Longing)

No. 10 Herzlich tut mich verlangen (second setting) [02:17]

With Preludes & Rhapsodies, Buzz tackles accessible and familiar works by means of innovative
custom arrangements. It was all the more opportune to give oneself the freedom of these
arrangements that many composers have transcribed even their own works over the centuries.
Moreover, preludes and rhapsodies are historically themselves compositions of relatively free
form (as opposed to, for example, fugues, sonatas and concertos, whose forms are much more
strict). It was already so as far back as the first half of the 18th century with Johann Sebastian
Bachs famous Preludes and Fugues for organ. As for rhapsodies, which appeared in the 19th
century, they are usually of even freer and more fanciful form than preludes, and are notably
inspired by folk or national themes.
Such is the case with the particularly well-known Hungarian Rhapsody No. 2 by Franz Liszt,
which is part of the 19 Rhapsodies he composed for piano around 1850. Liszt, born in Hungary,
was then making a career for himself throughout Europe as a composer of great genius and a
virtuoso pianist. Although his Rhapsodies draw their inspiration from melodies traditionally played
by his native countrys Romanies, they are nonetheless sophisticated works of the Romantic era.
Indeed, they were written by a composer who was trained in the Classical Viennese tradition
by such greats as Salieri, Schubert and Beethoven and who, during his lifetime, shared with his
friend Richard Wagner one of the greatest reputations in Europe. The work lends itself especially
well to an arrangement as Liszt was himself a fervent and prolific transcriber, including of his
own compositions.
At the turn of the 19th century, shortly after Liszt had passed away, Claude Debussy and a few
other composers were in the process of abandoning the tonal approach that Post-Romanticism
had taken to the limits of expressive possibilities (Mahler, Richard Strauss and, then triumphant,
Wagner). For his part, Debussy (like Ravel) would have been strongly influenced by Javanese
music he had heard at the 1889 Paris World Fair. (The Fair, for which the Eiffel Tower was built,
was being held on the occasion of the French Revolutions centenary.) He would therefore have
been generally inspired by Javas pentatonic scales and daring rhythms, but also by the exoticism
of Spain, Russia and, through the modal legacy of Gregorian chant, even Ancient Greece.
7

PRELUDES & RHAPSODIES

Hungarian Rhapsody No. 2
Franz Liszt (1811-1886)
Arr. Sylvain Lapointe, Julien Proulx & Louis Babin

PRELUDES & RHAPSODIES: FREEDOM AND INNOVATION

09:46

The Girl With the Flaxen Hair 02:21

Claude Debussy (1862-1918)
Arr. Christopher B.J. Smith
Prelude to The Afternoon of a Faun 09:40
Claude Debussy
Arr. Christopher B.J. Smith
3 Preludes 06:18
George Gershwin (1898-1937)
Arr. Louis Babin
Prelude I
[01:33]
Prelude II
[03:37]
Prelude III
[01:08]
Rhapsody in Blue 17:05
George Gershwin
Arr. Louis Babin
Elf Choralvorspiele 09:09
(Eleven Chorale Preludes)
Johannes Brahms (1833-1897)
Arr. Ralph Sauer
No. 7 O Gott, du frommer Gott [03:34]
(O God, Thou Faithful God)

No. 8 Es ist ein Ros entsprungen [01:57]

(Lo, How A Rose Eer Blooming)

No. 9 Herzlich tut mich verlangen [01:21]

(My Heart Is Filled With Longing)

No. 10 Herzlich tut mich verlangen (second setting) [02:17]

With Preludes & Rhapsodies, Buzz tackles accessible and familiar works by means of innovative
custom arrangements. It was all the more opportune to give oneself the freedom of these
arrangements that many composers have transcribed even their own works over the centuries.
Moreover, preludes and rhapsodies are historically themselves compositions of relatively free
form (as opposed to, for example, fugues, sonatas and concertos, whose forms are much more
strict). It was already so as far back as the first half of the 18th century with Johann Sebastian
Bachs famous Preludes and Fugues for organ. As for rhapsodies, which appeared in the 19th
century, they are usually of even freer and more fanciful form than preludes, and are notably
inspired by folk or national themes.
Such is the case with the particularly well-known Hungarian Rhapsody No. 2 by Franz Liszt,
which is part of the 19 Rhapsodies he composed for piano around 1850. Liszt, born in Hungary,
was then making a career for himself throughout Europe as a composer of great genius and a
virtuoso pianist. Although his Rhapsodies draw their inspiration from melodies traditionally played
by his native countrys Romanies, they are nonetheless sophisticated works of the Romantic era.
Indeed, they were written by a composer who was trained in the Classical Viennese tradition
by such greats as Salieri, Schubert and Beethoven and who, during his lifetime, shared with his
friend Richard Wagner one of the greatest reputations in Europe. The work lends itself especially
well to an arrangement as Liszt was himself a fervent and prolific transcriber, including of his
own compositions.
At the turn of the 19th century, shortly after Liszt had passed away, Claude Debussy and a few
other composers were in the process of abandoning the tonal approach that Post-Romanticism
had taken to the limits of expressive possibilities (Mahler, Richard Strauss and, then triumphant,
Wagner). For his part, Debussy (like Ravel) would have been strongly influenced by Javanese
music he had heard at the 1889 Paris World Fair. (The Fair, for which the Eiffel Tower was built,
was being held on the occasion of the French Revolutions centenary.) He would therefore have
been generally inspired by Javas pentatonic scales and daring rhythms, but also by the exoticism
of Spain, Russia and, through the modal legacy of Gregorian chant, even Ancient Greece.
7

14

14

With his creative force and great independence of mind, he finally freed himself from the shackles
that the formal excesses of the artistic ideology inherited from the 19th century had become.
The Girl With the Flaxen Hair, a work suggested by the French poem of the same name by
Leconte de Lisle in an anthology published in 1852, is taken from Debussys first book of twelve
Preludes he composed for piano in 1910. In the image of the young girl described by the poem,
the composition proves to be more innocent and easily accessible than what is usually attributed
to the composer. It nevertheless reflects all of the charm, all of the intense nostalgia and all of
the sound palettes richness that are indissociable from this composer of remarkable genius. As
the new century moved forward, Debussynot very conformist and particularly autonomous
would take musical composition in a wholly new and inescapable direction with sound
conceptions hitherto unheard of. As an orchestrator of great talent, he would also have surely
appreciated an arrangement which thus pays him hommage.
For the impressionist lyricism of Claude Debussys incomparable Prelude to The Afternoon
of a Faun (1894), the brass of Buzz are joined by Valrie Milots both suave and present harp
in a surprising balance. Out of great respect for his compatriot Stphane Mallarms poem
The Afternoon of a Faun that inspired him, Debussy had the thoughtfulness of specifying that
his composition was but a prelude to the poem. The work rapidly became one of the most iconic
of the early modern era, including through its adaptation for Sergei Diaghilevs Ballets russes.
As to the present arrangement, it preserves the original compositions subdued and highly varied
palette thanks to, among other things, different mutes and judicious instrumentation (trumpets in
various keys, flugelhorn blending with the French horn).
Shortly after Debussys death, it was a New-World composer who would be making his mark
with the originality and eventual timelessness of his musical language: George Gershwin, quite
likely the most famous of American composers. Born in 1898 of Russian immigrants in New York,
a veritable crossroads of influences and artists, Gershwin quickly appropriated the burgeoning
musical idiom that was American jazz and did so as both a talented and promising pianist as well
as composer. He first earned a reputation by composing songs for small ensembles (combos) that
were popular at the time.

When his 3 Preludes for solo piano came out in 1926, they quickly became standards of the
repertoire. For Buzz, tackling Gershwin became the perfect pretext to team up with the
extraordinary pianist that is Matt Herskowitz. Yet, the challenge that our arranger had to take
up consisted not of reducing an orchestral score (since it was nonexistent), but rather of
transcribing a piece for solo piano into a piece for piano and brass quintet.
It was as early as 1924, however, that Gershwin enjoyed a dazzling success, namely with
his Rhapsody in Blue for piano and orchestra, which had been a commission for a serious
orchestral work (as opposed to his popular songs). In our arrangement, the quintet and soloist
successfully evoke the intensity of a full symphonic orchestra right from the famous introduction,
no longer by the clarinet but rather by its transcription for trumpet, and so forth until the final
resonant chords.
As for Johannes Brahmsunlike the very freely innovative composers Liszt, Debussy and
Gershwin, he instead represents the balanced synthesis of the styles of his era (18331897). It is thus Classicism and Romanticism that are reflected in his Eleven Chorale Preludes
(Elf Choralvorspiele), originally composed for organ. Whats more, these Preludes are based
on chorales of Lutheran tradition (dating therefore as far back as 1524) and form an ultimate
tribute to the musical legacy of Johann Sebastian Bach (who died in 1750). The work is one of
great maturity, published posthumously and considered to be Brahms last masterpiece. These
Preludes prove to be a reflection of the three previous centuries Germanic musical tradition as
assimilated and transcended by the great master that is Brahms. Seven of the eleven movements
form a very moving meditation on death as Brahms mourns the recent passing of his muse
Clara Schumann and as he realizes he is himself at lifes end as his health gravely degenerates.
In this arrangement, Buzz plays four of the eleven Preludes, namely no. 7 O Gott, du frommer Gott
(O God, Thou Faithful God, on faith, love and hope), no. 8 Es ist ein Ros entsprungen (Lo, How
A Rose Eer Blooming, after a Christmas carol) and nos. 9 and 10 Herzlich tut mich verlangen
(My Heart Is Filled With Longing, 2 musical settings on the end of life). Sublimity made into music.

With his creative force and great independence of mind, he finally freed himself from the shackles
that the formal excesses of the artistic ideology inherited from the 19th century had become.
The Girl With the Flaxen Hair, a work suggested by the French poem of the same name by
Leconte de Lisle in an anthology published in 1852, is taken from Debussys first book of twelve
Preludes he composed for piano in 1910. In the image of the young girl described by the poem,
the composition proves to be more innocent and easily accessible than what is usually attributed
to the composer. It nevertheless reflects all of the charm, all of the intense nostalgia and all of
the sound palettes richness that are indissociable from this composer of remarkable genius. As
the new century moved forward, Debussynot very conformist and particularly autonomous
would take musical composition in a wholly new and inescapable direction with sound
conceptions hitherto unheard of. As an orchestrator of great talent, he would also have surely
appreciated an arrangement which thus pays him hommage.
For the impressionist lyricism of Claude Debussys incomparable Prelude to The Afternoon
of a Faun (1894), the brass of Buzz are joined by Valrie Milots both suave and present harp
in a surprising balance. Out of great respect for his compatriot Stphane Mallarms poem
The Afternoon of a Faun that inspired him, Debussy had the thoughtfulness of specifying that
his composition was but a prelude to the poem. The work rapidly became one of the most iconic
of the early modern era, including through its adaptation for Sergei Diaghilevs Ballets russes.
As to the present arrangement, it preserves the original compositions subdued and highly varied
palette thanks to, among other things, different mutes and judicious instrumentation (trumpets in
various keys, flugelhorn blending with the French horn).
Shortly after Debussys death, it was a New-World composer who would be making his mark
with the originality and eventual timelessness of his musical language: George Gershwin, quite
likely the most famous of American composers. Born in 1898 of Russian immigrants in New York,
a veritable crossroads of influences and artists, Gershwin quickly appropriated the burgeoning
musical idiom that was American jazz and did so as both a talented and promising pianist as well
as composer. He first earned a reputation by composing songs for small ensembles (combos) that
were popular at the time.

When his 3 Preludes for solo piano came out in 1926, they quickly became standards of the
repertoire. For Buzz, tackling Gershwin became the perfect pretext to team up with the
extraordinary pianist that is Matt Herskowitz. Yet, the challenge that our arranger had to take
up consisted not of reducing an orchestral score (since it was nonexistent), but rather of
transcribing a piece for solo piano into a piece for piano and brass quintet.
It was as early as 1924, however, that Gershwin enjoyed a dazzling success, namely with
his Rhapsody in Blue for piano and orchestra, which had been a commission for a serious
orchestral work (as opposed to his popular songs). In our arrangement, the quintet and soloist
successfully evoke the intensity of a full symphonic orchestra right from the famous introduction,
no longer by the clarinet but rather by its transcription for trumpet, and so forth until the final
resonant chords.
As for Johannes Brahmsunlike the very freely innovative composers Liszt, Debussy and
Gershwin, he instead represents the balanced synthesis of the styles of his era (18331897). It is thus Classicism and Romanticism that are reflected in his Eleven Chorale Preludes
(Elf Choralvorspiele), originally composed for organ. Whats more, these Preludes are based
on chorales of Lutheran tradition (dating therefore as far back as 1524) and form an ultimate
tribute to the musical legacy of Johann Sebastian Bach (who died in 1750). The work is one of
great maturity, published posthumously and considered to be Brahms last masterpiece. These
Preludes prove to be a reflection of the three previous centuries Germanic musical tradition as
assimilated and transcended by the great master that is Brahms. Seven of the eleven movements
form a very moving meditation on death as Brahms mourns the recent passing of his muse
Clara Schumann and as he realizes he is himself at lifes end as his health gravely degenerates.
In this arrangement, Buzz plays four of the eleven Preludes, namely no. 7 O Gott, du frommer Gott
(O God, Thou Faithful God, on faith, love and hope), no. 8 Es ist ein Ros entsprungen (Lo, How
A Rose Eer Blooming, after a Christmas carol) and nos. 9 and 10 Herzlich tut mich verlangen
(My Heart Is Filled With Longing, 2 musical settings on the end of life). Sublimity made into music.

VALRIE MILOT, HARPE / HARP

Artiste dune maturit admirable (Le Soleil, Qubec), la jeune harpiste qubcoise Valrie
Milot possde un jeu color et puissant qui remet en question les clichs de son instrument.
Dtentrice dun Prix avec grande distinction lunanimit du jury, obtenu au terme de ses tudes
au Conservatoire de musique de Trois-Rivires, elle sest perfectionne New York avec la
harpiste Rita Costanzi.
Valrie est laurate de nombreux concours dont le prestigieux Prix dEurope 2008, un honneur
quelle a t la premire harpiste remporter en presque 100 ans. Elle mne une carrire active
de soliste et de chambriste et elle se produit sur la scne tant qubcoise quinternationale,
notamment en Suisse, au Brsil et en France. Valrie Milot joue ici avec laimable autorisation
dAnalekta.
____________________
A young yet admirably mature artist (Quebec-City daily newspaper Le Soleil), Quebec harpist
Valrie Milot is gifted with a colourful and powerful technique that challenges the clichs about
her instrument.
After having been unanimously awarded the Prix avec grande distinction upon completion of her
studies at Quebecs Conservatoire de musique de Trois-Rivires, she perfected her training in
New York City with harpist Rita Costanzi.
Valrie has received numerous competition awards and was the first harpist in nearly 100 years
to win the prestigious Prix dEurope 2008. She leads an active career as both a soloist and a
chamber musician with performances in Quebec and abroad, namely in Switzerland, Brazil and
France. Valrie Milot appears here with the kind authorization of Analekta.

www.valeriemilot.com

VALRIE MILOT, HARPE / HARP

Artiste dune maturit admirable (Le Soleil, Qubec), la jeune harpiste qubcoise Valrie
Milot possde un jeu color et puissant qui remet en question les clichs de son instrument.
Dtentrice dun Prix avec grande distinction lunanimit du jury, obtenu au terme de ses tudes
au Conservatoire de musique de Trois-Rivires, elle sest perfectionne New York avec la
harpiste Rita Costanzi.
Valrie est laurate de nombreux concours dont le prestigieux Prix dEurope 2008, un honneur
quelle a t la premire harpiste remporter en presque 100 ans. Elle mne une carrire active
de soliste et de chambriste et elle se produit sur la scne tant qubcoise quinternationale,
notamment en Suisse, au Brsil et en France. Valrie Milot joue ici avec laimable autorisation
dAnalekta.
____________________
A young yet admirably mature artist (Quebec-City daily newspaper Le Soleil), Quebec harpist
Valrie Milot is gifted with a colourful and powerful technique that challenges the clichs about
her instrument.
After having been unanimously awarded the Prix avec grande distinction upon completion of her
studies at Quebecs Conservatoire de musique de Trois-Rivires, she perfected her training in
New York City with harpist Rita Costanzi.
Valrie has received numerous competition awards and was the first harpist in nearly 100 years
to win the prestigious Prix dEurope 2008. She leads an active career as both a soloist and a
chamber musician with performances in Quebec and abroad, namely in Switzerland, Brazil and
France. Valrie Milot appears here with the kind authorization of Analekta.

www.valeriemilot.com

MATT HERSKOWITZ, PIANO

Originaire dAlbany (dans ltat de New York) et diplm des rputs Curtis Institute of Music et
Juilliard School des tats-Unis, Matt Herskowitz est Montralais dadoption depuis 1999. Artiste
polyvalent, il apporte une voix unique et personnelle chacun des styles musicaux quil explore.
Il sest produit en concert partout dans le monde, du Carnegie Hall de New York jusquau Festival
international de jazz de Montral, en passant par plusieurs festivals europens.
Ses enregistrements se sont retrouvs en nomination aux prix tant Opus que Juno et ils ont fait
lobjet de critiques enthousiastes dont Album de lanne du journal montralais Le Devoir de
mme que Editors Choice du clbre Downbeat Magazine des tats-Unis.
Matt a galement enregistr un disque de jazz avec le renomm chanteur Barry Manilow, In the
Swing of Christmas, en nomination pour un prix Grammy en 2008. Il a aussi contribu la trame
sonore du film Les Triplettes de Belleville dont le CD a t laurat en 2004 dun Csar en France.
______________________
A native of Albany, New York, and a graduate of the USAs renowned Curtis Institute of Music and
Juilliard School, Matt Herskowitz has made Montreal his adopted home since 1999. A versatile
artist, he brings a unique and personal voice to every musical style he explores. Matt has given
stage performances in venues throughout the world, from New Yorks Carnegie Hall to Montreals
International Jazz Festival as well as in several European festivals.
His recordings have been nominated for Juno and Opus awards alike and have received such
accolades as Editors Choice by the USAs famous Downbeat Magazine and Album of the
Year by Montreals daily newspaper Le Devoir.
Matt has also recorded a jazz album with renowned singer Barry Manilow, In the Swing of
Christmas, nominated for a 2008 Grammy. In addition, he contributed to the animated movie
soundtrack for The Triplets of Belleville, which won a 2004 Csar award in France for the CD.

www.mattherskowitz.com

MATT HERSKOWITZ, PIANO

Originaire dAlbany (dans ltat de New York) et diplm des rputs Curtis Institute of Music et
Juilliard School des tats-Unis, Matt Herskowitz est Montralais dadoption depuis 1999. Artiste
polyvalent, il apporte une voix unique et personnelle chacun des styles musicaux quil explore.
Il sest produit en concert partout dans le monde, du Carnegie Hall de New York jusquau Festival
international de jazz de Montral, en passant par plusieurs festivals europens.
Ses enregistrements se sont retrouvs en nomination aux prix tant Opus que Juno et ils ont fait
lobjet de critiques enthousiastes dont Album de lanne du journal montralais Le Devoir de
mme que Editors Choice du clbre Downbeat Magazine des tats-Unis.
Matt a galement enregistr un disque de jazz avec le renomm chanteur Barry Manilow, In the
Swing of Christmas, en nomination pour un prix Grammy en 2008. Il a aussi contribu la trame
sonore du film Les Triplettes de Belleville dont le CD a t laurat en 2004 dun Csar en France.
______________________
A native of Albany, New York, and a graduate of the USAs renowned Curtis Institute of Music and
Juilliard School, Matt Herskowitz has made Montreal his adopted home since 1999. A versatile
artist, he brings a unique and personal voice to every musical style he explores. Matt has given
stage performances in venues throughout the world, from New Yorks Carnegie Hall to Montreals
International Jazz Festival as well as in several European festivals.
His recordings have been nominated for Juno and Opus awards alike and have received such
accolades as Editors Choice by the USAs famous Downbeat Magazine and Album of the
Year by Montreals daily newspaper Le Devoir.
Matt has also recorded a jazz album with renowned singer Barry Manilow, In the Swing of
Christmas, nominated for a 2008 Grammy. In addition, he contributed to the animated movie
soundtrack for The Triplets of Belleville, which won a 2004 Csar award in France for the CD.

www.mattherskowitz.com

BUZZ
PASCAL LAFRENIRE
cor / horn
JASON DE CARUFEL
trombone
SYLVAIN LAPOINTE
directeur artistique / trompettes et bugle
artistic director / trumpets and flugelhorn
FRDRIC GAGNON
trompettes solo et trompette piccolo
principal and piccolo trumpets
SYLVAIN ARSENEAU
trombone basse / bass trombone

19

BUZZ
PASCAL LAFRENIRE
cor / horn
JASON DE CARUFEL
trombone
SYLVAIN LAPOINTE
directeur artistique / trompettes et bugle
artistic director / trumpets and flugelhorn
FRDRIC GAGNON
trompettes solo et trompette piccolo
principal and piccolo trumpets
SYLVAIN ARSENEAU
trombone basse / bass trombone

19

PRODUCTION BUZZ COPRODUCTION FIDELIO MUSIQUE

DIRECTION ARTISTIQUE / ARTISTIC DIRECTION SYLVAIN LAPOINTE
RALISATION, PRISE DE SON ET MONTAGE / DIRECTION, SOUND ENGINEERING AND EDITING
ANNE-MARIE SYLVESTRE
MATRIAGE / MASTERING REN LAFLAMME
PHOTOGRAPHIE ET GRAPHISME / PHOTOGRAPHY AND GRAPHIC DESIGN
MICHEL BRARD NMOOV COMMUNICATION
TEXTES ET TRADUCTION / TEXTS AND TRANSLATION GATAN CHNIER
ENREGISTR LA SALLE FRANOYS-BERNIER DU DOMAINE FORGET, SAINT-IRNE, QUBEC,
CANADA, LES 22, 23, 24 ET 25 SEPTEMBRE 2014
RECORDED AT DOMAINE FORGET FRANOYS-BERNIER CONCERT HALL, SAINT-IRNE, QUBEC,
CANADA, ON SEPTEMBER 22, 23, 24 AND 25, 2014
MICROPHONES NEUMANN D-01, TLM 103 D & KM 185 D
PRAMPLIFICATEUR ET CONVERTISSEUR / PREAMPLIFIER AND CONVERTER
NEUMANN DMI-8 (SOLUTION D)
ENREGISTR EN 24 BIT/96 KHZ SUR ENREGISTREUSE PYRAMIX / RECORDED IN 24 BIT/96 KHZ ON
PYRAMIX SOUND RECORDER
Nous reconnaissons lappui financier du gouvernement du Canada par lentremise du ministre
du Patrimoine canadien (Fonds de la musique du Canada)
We acknowledge the financial support of the Government of Canada through the Department of
Canadian Heritage (Canada Music Fund)

PRODUCTION BUZZ COPRODUCTION FIDELIO MUSIQUE

DIRECTION ARTISTIQUE / ARTISTIC DIRECTION SYLVAIN LAPOINTE
RALISATION, PRISE DE SON ET MONTAGE / DIRECTION, SOUND ENGINEERING AND EDITING
ANNE-MARIE SYLVESTRE
MATRIAGE / MASTERING REN LAFLAMME
PHOTOGRAPHIE ET GRAPHISME / PHOTOGRAPHY AND GRAPHIC DESIGN
MICHEL BRARD NMOOV COMMUNICATION
TEXTES ET TRADUCTION / TEXTS AND TRANSLATION GATAN CHNIER
ENREGISTR LA SALLE FRANOYS-BERNIER DU DOMAINE FORGET, SAINT-IRNE, QUBEC,
CANADA, LES 22, 23, 24 ET 25 SEPTEMBRE 2014
RECORDED AT DOMAINE FORGET FRANOYS-BERNIER CONCERT HALL, SAINT-IRNE, QUBEC,
CANADA, ON SEPTEMBER 22, 23, 24 AND 25, 2014
MICROPHONES NEUMANN D-01, TLM 103 D & KM 185 D
PRAMPLIFICATEUR ET CONVERTISSEUR / PREAMPLIFIER AND CONVERTER
NEUMANN DMI-8 (SOLUTION D)
ENREGISTR EN 24 BIT/96 KHZ SUR ENREGISTREUSE PYRAMIX / RECORDED IN 24 BIT/96 KHZ ON
PYRAMIX SOUND RECORDER
Nous reconnaissons lappui financier du gouvernement du Canada par lentremise du ministre
du Patrimoine canadien (Fonds de la musique du Canada)
We acknowledge the financial support of the Government of Canada through the Department of
Canadian Heritage (Canada Music Fund)

FIDELIOMUSIC.COM

BUZZCUIVRES.COM
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