Gisèle Ricard, Électroacoustique (1980-1987) 

Born into a musical family, Gisèle Ricard found herself drawn to the piano at an early age. In the mid-1960s, she undertook studies in performance and music education at Laval University’s School of Music in Quebec City. It is there that she was first introduced to electroacoustic composition. Created in 1969 by Nil Parent, the university’s electronic music studio (SMEUL) offered Quebec’s francophone experimentalists a stimulating environment in which to create. In 1974, Ricard cofounded the Groupe d’interprétation de musique électroacoustique (GIMEL) with Parent, Marcelle Deschênes and Jean Piché. The group performed in Quebec and Ontario before traveling to Europe where it gave a series of concerts and workshops. GIMEL disbanded officially in 1977. The following year, Ricard participated in the creation of the Association de musique actuelle de Québec (AMAQ). She then partnered with Bernard Bonnier and founded Studio Amaryllis. In 2002, she became the general director and artistic director of the avant-garde group Erreur de type 27.

Tenzier’s fourth release features three unreleased compositions recorded by Ricard between 1980 and 1987. One of the pieces – « Une autre création du monde » – was created in collaboration with Bernard Bonnier.

TNZR054: GISÈLE RICARC, ÉLECTROACOUSTIQUE (1980-1987)
Format : LP, 180 gr – Limited edition
Gisèle Ricard: Music – “Je vous aime” and “Immersion”
Gisèle Ricard and Bernard Bonnier: Music – “Une autre création du monde”
Sabrina Ratté: Vidéo stills
Dominic Vanchesteing: Layout

“Je vous aime” – Excerpt

“Immersion” – Excerpt

“Une autre création du monde” – Excerpt

Reviews:
“A mighty fine poke of Xenakian chaos-clouds — a brilliant set of shifting voice/electronic collages, along with bloopsy synth gobble. Very sweet.” – Byron Coley & Thurston Moore (Bull Tongue Review)

“Side A tracks “Je vous aime” and “Immersion” consist of ethereal experiments in the art of plundering the subtleties and limits of language and musicality, making for a destabilizing experience, droning away from rigid genres […]. Side B’s only track, “Une autre création du monde,” created with electroacoustic composer Bernard Bonnier (Pierre Henry’s assistant between 1972 and 1976), stands out as the 22-minute-long pièce de résistance. Wisely chosen as the culminating point of this recording, this composition is enough to make the album worth its salt on its own.” – Ralph Elawani (Exclaim)

“The latest from Tenzier is an LP by Gisèle Ricard, of whom I’d never heard. But this is rather the point, so don’t let the lack of familiarity put you off. Featuring three pieces realized between 1980 and 1987, each piece lives and breathes, making fascinating use of the stereo-field to create an organic sense of space and movement. Unlike Tenzier’s earlier foray documenting electronic music, which drew on the activites of McGill University’s formidable music technology program, Ricard was based at Laval University’s School of Music in Quebec City. So if there is a Montreal sound, this isn’t it. … The second side features just one long composition realized in 1982 with Bernard Bonnier, a piece of music theater for electronic instruments, two comedians and a visual designer. (Most unusual instrumental list of the year?) It is from this visual performance that the album artwork draws, and is a clear highpoint of the album for me. The utilization of electro-acoustic instrumentation grants the piece … flexibility and life …, a sense of openness that augments the electronic timbres.” – Joseph Sannicandro (A Closer Listen)

“The latest missive from the Tenzier camp is an exploration of the music of Giselè Ricard, one of the founders of the Association de Musique Actuelle de Québec. Ricard began her musical education in Quebec City, where she first became enamored with electroacoustic composition, working in the university’s electronic music studio and eventually forming the Groupe D’interprétation de Musique Électroacoustique with Nil Parent, Marcelle Deschênes and Jean Piché. This LP features three of Ricard’s compositions that were realized in the 1980s. “Je Vous Aime” explores the intersection of music and voice, its highly textured fragments of vocalizing and music coming across like an alien cabaret dissolving into itself. Created for performance using an AKS synthesizer, “Immersion” drowns waves of static in an analog bubble bath. The epic “Un Autre Création du Monde” is a collaboration with Bernard Bonnier (try to find his long out of print and insanely bonkers Casse-tête LP) and takes its time to evolve into an almost funky beat-scape that today’s art-damaged weirdos wish they could have created. Snap up your copy of this amazing vinyl masterpiece.” – Bryon Hayes (Decoder)

“True to its aim of chronicling the Quebec avant-garde, Tenzier has unearthed another important document for its fourth release … . The A-side includes two Ricard compositions. “Je vous aime” was originally presented to friends as one of the weirdest wedding gift ever, a variety of sampled clips of the title reverberating around a carnival of crowded scenes. “Immersion” storms in with white-noise waves, progressing to a barrage of popping squeaks. The B-side’s “Une autre création du monde” has discreet timbres of increasing density building to a frenzied finale. This collaboration with Bernard Bonnier, a 1970s assistant of pioneer Pierre Henry, further connects the LP to musique concrète history. – Lawrence Joseph (MusicWorks)

“Le label Tenzier, dont il s’agit ici de la quatrième référence, publie trois pièces inédites enregistrées par Gisèle Ricard entre 1980 et 1987 en vinyle 180 grammes à un tirage limité à 300 copies. C’est du sérieux, mais cela ne signifie pas que l’humour en soit absent. La première pièce « Je Vous Aime » de 1987 est une enivrante parade nuptiale, un travail électroacoustique à partir d’extraits de chansons d’amour. « Immersion » de 1980 est un peu la rencontre des striures chères à Bernard Parmegiani faisant un ballet aquatique avec « Spirale », l’un des travaux des années cinquante de Pierre Henry, les plus “pré-techno”. On peut d’ailleurs imaginer que la troisième pièce du disque, « Une autre création du monde », réalisée en 1982 en collaboration avec Bernard Bonnier, est un hommage à « La création du monde » de Bernard Parmegiani, également de 1982. Laquelle des deux a été créée avant l’autre ? Il se pourrait bien que « L’autre » soit la première… Qu’importe, tout est relatif, mon cher Albert. Mais une chose est stable, le plaisir de l’écoute, ici de sonorités de glissements, respirations et rebondissements, de torsions métalliques imaginaires (Gisèle Ricard et Bernard Bonnier anticipaient là de 30 ans « Vitamin » de Kraftwerk).” – Eric Deshayes (Neospheres)

“Les trois pièces électroacoustiques que Tenzier rassemble ici sont l’œuvre de Gisèle Ricard (en collaboration avec Bernard Bonnier, pour l’une d’entre elles). Deux noms encore à apprendre pour des sons assez différents puisque Ricard emprunte, pour composer, des couplets à des chansons françaises qui parlent d’amour (Je t’aime) ou fabrique un petit univers en Immersion ou encore une balancelle sonore qui rappelle Ursula Bogner – à moins que Jan Jelinek ne soit aussi derrière Gisèle Ricard ..?” – Pierre Cécile (Le Son du grisli)

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