Réal Gagnon est un habitué du CEM. Également enseignant vétéran à l’Atelier de Musique de Jonquière, il a déjà collaboré sur une multitude des projets depuis plusieurs années. C’est désormais à son tour de se manifester comme compositeur audacieux avec une proposition haute en couleurs.
La nouvelle œuvre de Réal Gagnon qui s’intitule Libellule électrique présentera une allégorie musicale sans parole sur les hauts et les bas dans la vie fictive d’une “libellule électrique”. À l’image du vol déroutant de la libellule, le concert se déploie en vague de contrastes sonores, de rythmes non-usuels, des effets mystifiants en boucle et de solides grooves.
Avec un ensemble de six musicien.nes, la musique prendra vie dans les installations du CEM cet été et promet un récit musical, un poème symphonique moderne, une aventure ludique et surprenante, à l’image de son compositeur.
- Réal Gagnon
- Synthesizer
- Bass
- Drums
- Composition
- Mélissa Tremblay
- Violin
- Marie-France Ménard-Simard
- Flute
- Saxophones
- Gabriel Pearson
- Keyboards
- Synthesizer
- Éric Couture-Telmosse
- Electric guitar
- Robert Pelletier
- Percussion
- Drums
- Vibraphone
Following his musical training at Alma's college, he never ceased to be active in a multitude of projects (live or studio), his versatility allowing him. Over time, the electric bass and the marimba add to his affection for instruments. He played his share of repertoire music (dance, blues, reggae, alternative, prog-rock, etc.) including a tribute band to Led Zeppelin without ever losing interest in expanding his musical spectrum. His ease with teaching music has earned him recognition in the region as a percussion and combo teacher at L'Atelier de Musique de Jonquière (AMJ) since 1995, for a musical meeting with no less than 50 students per week.
He appears in the Centre d'Expérimentation Musicale's orbit in 1994 through the music of Jean-Pierre Bouchard; and is still there during the organization’s 30th anniversary show in 2011. Also a regular player in the defunct Saguenay musical improv league (2005-2014), his work is applied as much in a minimalist improvisation as in a great musical construction. Partisan of sound contrasts and precision in the game, he responds when the situation requires a solid groove. We notice that he takes pleasure in varying the use of an instrument to obtain a different or unusual sound. Clearly, the training in CEM workshops have borne fruit in inspiration for him since he has now developed a singular game of prepared bass in addition to using in his own way the technique of directed improvisation with the AMJ combo students. More recently, the catalytic effect of the CEM gave him the opportunity to create a composition for 8 musicians for the Excentrés concert, a piece entitled Révolver.
