Ottawa New Music Creators


Suzanne Binet-Audet, ondes Martenot

Ottawa Programme

Des temps oubliés (2012 / 12:45)

Trilogie d’ondes

Voix Blanche (1989 / 13:02), ondes Martenot and fixed sounds

Là où vont les nuages… (1991 / 11:20), ondes Martenot, real-time processing and fixed sounds

La Perle et l’Oubli (2002 / 21:17), ondes Martenot and fixed sounds

Programme Notes

Des temps oubliés (2012 / 12:45)

In 2011, the 200th anniversary of Franz Liszt was celebrated. Des temps oubliés is a modest homage to the Hungarian composer and pianist. Musical fragments appear, are rapidly absorbed into this new soundscape of the technological revolution. With thanks to Robin Minard and François Couture.

Commissioned by GRM — Groupe de recherches musicales in Paris (France), with the support of the Conseil des arts et lettres du Québec (CALQ). Produced at the GRM.

Voix Blanche (1989 / 13:02)
ondes Martenot and fixed sounds

In memory of Serge Garant (1929–1986)

This dramatic piece brings together one of the earliest electronic instruments and one of the most recent developments in digital audio technology. The instrumentalist occupies a well-defined space in this universe of sound on tape. However, her role is not that of the traditional soloist. The tones of the ondes Martenot, supple and expressive, approach the strains of the human voice, and seek to meld with the highly intense material on tape.

Commissioned by Suzanne Binet-Audet with the support of the Canada Council for the Arts. Second Prize in 1989 in the 11th Concorso Internazionale “Luigi Russolo” di musica elettroacustica, Varese (Italie). Second Prize in 1989 in the 17th Concours international de musique Électroacoustique de Bourges (France).

Là où vont les nuages… (1991 / 11:20)
ondes Martenot, real-time processing and fixed sounds

To Suzanne Binet-Audet

In this piece, the ondes Martenot is linked to a MIDI converter, enabling the performer to play, in addition to her instrument, other MIDI instruments (synthesizer, sampler, and the entirety of the processing). This “super-instrument” gives access to a profusion of sounds — simple and complex — which surround and accompany the timbre of the ondes Martenot while remaining responsive to the nuances imparted by the performer.

Finalist in 1996 in the 23rd Concours international de musique Électroacoustique de Bourges (France).

La Perle et l’Oubli (2002 / 21:17)
ondes Martenot and fixed sounds

The final piece of the Trilogie d’ondes is a personal interpretation of a Gnostic text from the second century, entitled Hymn of the Pearl and attributed to Bardesanes (152–222). The writing for the instrument is just as expressive but sparse. The premiere was given in 2002 by Suzanne Binet-Audet at the Stadtgarten in Cologne, Germany.


After studying organ at the Conservatoire de Montréal, Suzanne Binet-Audet took advanced courses under Jean Langlais in Paris. She studied the ondes Martenot in parallel with its inventor, Maurice Martenot, at the Conservatoire National Supérieur de Paris, where she received First Prize. She went on complete her Licence de concert at the École Normale Supérieure de Paris under Jeanne Loriod.

Since then she has been performing both as a soloist and as a member of the ondes Martenot ensembles Sextuor Loriod (Paris) and the Ensemble d’Ondes de Montréal since it was founded in 1976. She has also performed with various orchestras and ensembles internationally at such festivals as EMS, World Music Days, Holland Festival and Toronto’s Electronic Music Festival.

Binet-Audet was the soloist for the recording of Gilles Gobeil’s DVD Trilogie d’ondes, which won the Prix Opus (Disc of the Year) in 2005. She appears in and contributed to the soundtrack of the 2012 documentary Le chant des ondes — Sur la piste de Maurice Martenot (English: Wavemakers).

After studies in music theory, Gilles Gobeil completed his Master’s in composition at Université de Montréal. Since 1985 he has concentrated on the creation of acousmatic and mixed works. His compositions approach what is known as “cinéma pour l’oreille” (cinema for the ear); many of them are inspired by literary works and seek to “visualize” them through the medium of sound.

Gobeil has been awarded more than twenty prizes and mentions in Canada and internationally, such as Destellos (Buenos Aires, 2015, 2012, 2011), Música Viva (Lisbon, 2015), Black & White (Portugal, 2009), Ars Electronica (Austria, 2005, 1995), Bourges (France, 2009, 1999, 1989, 1988), Stockholm Electronic Arts Award (Sweden, 1997, 1994), CIMESP (Brazil, 2001, 1999, 1997), Métamorphoses (Belgium, 2002, 2000), British Design & Art Direction (2002), Ciber@rt (Spain, 1999), Luigi Russolo (Italy, 1989, 1988, 1987), Newcomp (USA, 1987), SOCAN (Canada, 1993), Conseil Canadien de la Musique (1985), Brock University (1985), SDE Canada (1984). He received the Prix Opus 2004–05 (Disc of the Year) from the Conseil québécois de la musique (CQM) for his disc Trilogie d’ondes; in 2003–04, Le contrat was a finalist in the same category.

He has received commissions from Codes d’Accès (Montréal), empreintes DIGITALes (Montréal), GMEB — Groupe de musique expérimentale de Bourges (France), GRM — Groupe de recherches musicales (Paris), Hochschule für Musik Franz Liszt Weimar (Germany), Miso Music (Lisbon), Musiques & Recherches (Belgium), Réseaux des arts médiatiques (Montréal), Société Radio-Canada, ZKM — Zentrum für Kunst und Medientechnologie (Germany), Totem Contemporain (Montréal), Folkmar Hein, and Oscar Wiggli, and from the performers Suzanne Binet-Audet, René Lussier, Arturo Parra and Rick Sacks.

He has also been Composer-in-Residence at The Banff Centre (Canada, 1995, 1993), Bourges (France, 1991), GRM — Groupe de recherches musicales (France, 1993), Hochschule Franz Liszt de Weimar (2010), ZKM — Zentrum für Kunst und Medientechnologie (Germany, 2012, 2010, 2009, 2007, 2006, 2005) and was Guest Composer of the DAAD’s Artists-in-Berlin Programme (Germany) in 2008.

Gobeil is currently a professor of music technology at Drummondville CEGEP, where he has been teaching since 1992, and has been Guest Professor of electroacoustics at the Université de Montréal (2005–06) and at the Montréal Conservatory (2007). He is a member of the Canadian Electroacoustic Community (CEC) and co-founder of Réseaux, an association dedicated to the production of Media Art events.

Curtis Perry