April 2022   

SEEN | New Album Release

In his liner notes for my new album SEEN, writer Nick Storring comments that as little as twenty years ago things such as stylistic pluralism and the disintegration of various boundaries aesthetic and otherwise were still regarded as novel conceptual avenues for artists. That tide, unstoppable as it was led to a place where one can no longer help but engage with these principles.

My upcoming release of SEEN reflects aspects of these cultural shifts in my embodied practice of long duration blending cultivated interests of cutting-edge electroacoustic innovation, historical performance practice, free improvisation and composition while respecting aspects of popular and “art” music approaches without pandering or over-thinking such exchanges. Here the curiosities of my creative predilections created a clearly identifiable interpretive voice in new creation, one dimension of my search for a deeper expressivity of the accordion’s fluid sound and lyrical dynamism. As I walked and worked on the margins looking in to the homogenized center I discovered fresh perspectives beyond the compartmentalizations and echoes of yesterday, such oppositions offering a rich wellspring for a music with irony. These persistent perspectives of the unimaginable accordion medium are encapsulated in the microcosm of SEEN with works from every decade 1964 to the present.

An independent Canadian CD production, SEEN is scheduled to launch July 15, 2022 on Vancouver’s Redshift label and includes the solo electroacoustic works by David Jaeger, Peter Hatch, and Erik Ross, and acoustic solo works by Robert May, Norbert Palej and Torbjorn Lundquist.

Please visit this site for updates, news and reviews. 


February 2022

BIARC2 – Inaugural Broadcast  

This blog is dedicated to my longstanding colleague, the clarinetist Martin Carpentier of Montreal. 

Martin’s artistry on all the clarinets has been shared with audiences across Canada, Quebec, Europe the UK and the Middle East.  A longtime member  in Pentaèdre and Les Violins du Roi, he is deeply committed to the exciting possibilities of new creation. Martin and I have worked together in  Pentaèdre’s re-creation of Winterreise with German tenor Christoph Prégardien, and in numerous premieres of contemporary works with Société de Musique Contemporaine de Québec and Montreal’s Nouvel Ensemble Moderne.    

Despite the vagaries of Covid mandates, Martin and I completed our inaugural event for our duo Biarc2 with the completion of the recording of world premieres by composers Gabi Malancioiou (ROM), Kathryn Knowles (CAD), Daryl Jamieson (JAP), Juro Kim Feliz (PHIL), and Ed Davis ( USA ) January 13 at Toronto’s innovative Peristera Studios, and producer Peter Lutek.

Martin and I thank all those who submitted new works for consideration in our CMC Call for Works.  The  works were of the highest quality, but as always, we had limitations.  To those composers whose works were not performed, we remain committed to disseminating your scores to our international colleagues to promote your work.   

The premieres will be broadcast on the CMC website followed by numerous radio broadcasts, details TBA on the CMC website.  Special thanks to Matthew Fava at the Ontario Office of the CMC for his administrative support. 

 “…a wonderful recording of Fox Red!  Martin’s clarinet is beautifully suited to this score."

– Daryl Jamieson



January 2022



It all began with the premieres of seven new works for accordion one evening in March 2018 when SMCQ Artistic Director Walter Boudreau programmed eight new works for accordion by emerging composers Charles-Louis Frechette, Martin Henry, Symon Henry, Cristina Garcia-Islas, Gabriel Ledoux, and the established voices of José Evangelista (two works) and Yves Daoust. The concert was attended by a sold out house of more than 300, reviewed by critic Réjan Beaucage and published in CIRCUIT.

The compositional offerings included the modernist (Frechette), Cagean minimalism (Martin Henry), socio-narrative electroplay (LeDoux), live video and comprovisation (Symon Henry) re-creation (Evangelista) and LILY  - (with violinist Lynn Kuo) by Yves Daoust, Québec’s eminence gris of the electro-instrumental-narrative genre.   

LILY was commissioned by the Canada Council 2009 and written 2010-18. Originally envisioned for accordion, violin, and the narrations of a call girl’s reflections, Daoust began work on a parallel version of “LILY” sans instrumental forces for electroacoustic element and female narrator only 2016. The third iteration premiered for SMCQ March 2018 was a robustly re-voiced and amplified instrumental version for the concert hall (violinist Lynn Kuo).  The fourth iteration was recorded in Montreal and Toronto in the autumn of 2020 for an upcoming release on the empreintes digitales label entitled Docu-fictions. This recorded version reflects yet another dimension of Daoust’s legendary sense of the opera aperto – this time in his intimate relationship to the microphone and subtle mastering techniques which offer the listener unprecedented  sonic intimacy not possible in a concert hall performance.

Congratulations and sincere thanks to my collaborators Yves Daoust, Lynn Kuo, and Artistic Director Jean François for a wonderful journey of creation and re-creation.

For updates and news of LILY’s 2022 release on the album Docu-fictions please visit Emprintes Digitales’  website. 

“…undeniable emotional power…”

– Réjean Beaucage | Circuit


PRAISE FOR Music for Self-Isolation

“Truly a record of our times. There is a sense of loss and shared spirit in this music. It is saying, we might not be able to be together but let’s BE together.”

- Paolo Pietropaolo | CBC Music | In Concert

“A masterpiece of creative invention…”

- The Vancouver Sun

“It takes a special skill to be able to create a whole atmosphere in a work that is just 2 minutes long.”

- Suzy Klein | BBC 3 | Essential Classics    

January 2022

Music for Self-Isolation

Among the many albums I’ve released over the years, Music for Self-Isolation is very special. The brainchild of Frank and Lisa Horvat, it was memorable for their inclusivity and professionalism, of course. But, on a deeper level, it was their empathy for the predicament of musicians and artists during covid that inspired their vision for this project of scope. Lisa and Frank’s choice of venue at Roy Thomson Hall to record Music for Self-Isolation touched many triggers, irony prominent among them, as musicians seated on the stage of RTH in front of 2,300 empty seats in an acoustic marvel used to receiving waves of symphonic sound, recorded their instrumental miniatures in a hall waiting to be populated again. In this moment, there were many layers of thought provoking perspectives that unfurled around Covid culture, inclusivity, re-imagined creativity, questions of survival, collaboration and recognition. We recorded in January, and received notice from Frank and Lisa that the collaboration had been voted one of the Top 5 Canadian albums of 2021 by the CBC.  A serendipitous book end to Covid 2021. 

Congratulations to Lisa and Frank and all the artists on the album – so deserving of the many accolades that came from international media and across the wires.