Claude Marc Bourget - C'est une belle journée

Catégorie : Compositions

Echo (violon solo)

22 avril 2022
April 22, 2022


Catalogue :  B-101

Nimrod Borenstein
Polina Nazaykinskaya
Claude Marc Bourget

Nimrod Borenstein / Quasi une cadenza 5:37
Polina Nazaykinskaya / Caprices I 1:53 ; Caprices II 2:20
Claude Marc Bourget / Tsarfat, chants pour violon seul 9:33



Livret / Booklet (pdf)

Producer / Producteur : Claude Marc Bourget
Sound producer / Ingénieur du son : Philippe Bouvrette (Musicom Productions)
Mastering Engineer / Ingénieur au mastering : Marc Thériault (Le lab Mastering)
Album Design / Graphisme : Claude Marc Bourget
Cover photo / Photo de couverture : Jan Osipyan

Recorded in September 2021 at St-Augustin Church in Mirabel, Mirabel, Canada / Enregistré au mois de septembre 2021 à l’église St-Augustin de Mirabel, Mirabel, Canada
Special thanks to Carl Talbot (Musicom Production), without whom this project would not have been possible. / Un merci tout spécial à Carl Talbot (Musicom Productions),.sans qui ce projet n’aurait pu voir le jour. ℗

® © Bourget Music 2021

Le mystère des trois jours

LE MYSTÈRE DES 3 JOURS, for piano and 4 virtual violins

1. Premier jour………………..5:22
2. Deuxième jour……………..5:03
3. Troisième jour………………3:26




Album Review: Le Mystère Des Trois Jours from Claude Marc Bourget
Christ’s Resurrection Set to Virtual Violins and Piano

Susan Frances, Yahoo Contributor Network
May 25, 2014
Le Mystère des Trois Jours (The Mystery of the Three Days) from Claude Marc Bourget is a 3-track CD that showcases Bourget’s prowess as a masterful pianist and programmer of virtual violins in addition to being an effective narrator. His compositions have an ambient coloring with choral-tinged passages that pervade a Gothic tint. Each composition represents a specific movement, telling the story of Christ’s resurrection through music. « Premier Jour » (First Day) symbolizes Christ’s death. « Deuxième Jour » (Second Day) reflects the transformation process. The last track « Troisième Jour » (Third Day) characterizes Christ’s resurrection. Inspired by the Biblical story, the music shows reverence for the miracle and provides sonic vignettes depicting the three stages of the evolution.
The compositions have a meditative-slant bringing together the orchestral tones of the violins and the chamber music-imbued resonance of the piano. Combined, the strings and keys culminate into a gospel hue reminiscent of Gregorian Chants, music which echoed from outside the walls of Gothic churches during the height of the Middle Ages. Bourget’s offering epitomizes the music of the Medieval Era implementing modern instruments and a contemporary view of the Biblical tale.
Notes move slow and subtly along « Premier Jour » reflecting the mournful mood over Christ’s death. The chord arrangements for the strings are dabbed gently at first then grow more intense and bold as the track progresses producing fluttering ringlets that float with angelic charisma. The composition describes the story of Christ’s death with thoughtful detailing and a consciousness of the grief-stricken scene. The second stage of the miracle « Deuxième Jour » resonates with choral tones scrolling a requiem of narrative strings that relate the part of the tale when Christ’s body transcends from the grave and rises up to heaven. The striking swells made by the strings evoke emotion in the listener as the graceful movements caress the ears. The natural and spontaneous flux of the strings expresses respect for the event. The final track « Troisième Jour » erupts with bright and elegant tones as the notes prance freely producing ambient soundscapes and choir-like atmospherics. The intensity in the sonic ruminations is moving and awakens sensations in the listener.
A profound storyteller, Claude Marc Bourget shows that his sonic vignettes can move audiences. The melodic descriptions shown on Le Mystère des Trois Jours join the keys and strings resounding traditional Gregorian-textured Chants with modern ambient tints and orchestra-tinged soundscapes. Produced by Metis Islands Music, Bourget’s offering demonstrates sensitivity and a reverence for the Biblical tale. Implementing the principles of artistic freedom, Bourget shows that he can craft moving stories through music and evoke emotion in the listener.


pdf cover / pdf back cover
jpg cover / jpg back cover

Claude Marc Bourget, piano and programming

Recorded december 2012, Metis Islands Studio Mixing and mastering by Claude Marc Bourget and Metis Islands Studio Produced by Bourget Music, May 2014 © Bourget Music

Bourget Music (Metis Islands Record)  Catalog number : BM-005

Greenland, song of the Ice

GREENLAND, SONG OF THE ICE, for solo violin
Groenland, ou le chant des glaces, pour violon solo

1.Song of the Ice / 7’02

Frédéric Bednarz, violin




Livret PDF.   

Achetez la partition
Pour violon seul (score-partition)


Bourget Music (METIS ISLANDS MUSIC) / Catalogue : BM-002
Musique par Claude Marc Bourget.

Enregistré le 11 août 2011, à l’Église Notre-Dame-de-la-Compassion, Métis-sur-Mer, Québec, Canada.
Enregistré, mixé and masterisé by Claude Marc Bourget.

Noviaus tanz

NOVIAUS TANZ, for violin, cello, virtual violins & virtual double bass

Frédéric Bednarz, violin
Pierre-Alain Bouvrette, cello
Claude Marc Bourget, samples, programming, arrangement

Pdf Booklet : Web or print.

1.Signes (moderato) 2’59
2. Ferments (largo) 4’48
3. Cadences (più allegro) 7’34


5/14/12   REVIEW   
JAZZ TIMES, USA, by Susan Frances

NOVIAUS TANZ review (extract)

Classical pianist Claude Marc Bourget plays a new role on his latest recording Noviaus Tanz from Metis Islands Production as a programmer and arranger of the virtual violin and virtual double bass. Coupling electronic music with the acoustic ethers of cellist Pierre Alain Bouvrette and violinist Frederic Bednarz, Bourget creates elevating raptures and extemporaneous ripples that focus the mind and stimulate calmness through the soul.

The harmonies are melodically organized and arranged to flow with a natural elegance. Silky textured strings open “Ferments” coiled in winding cello rings. The verses roam with a vivacious spontaneity projecting orchestral arcs spruced by branches of improvisational sprigs. The broad, hushed strokes of “Cadences” alternate between light and heavy pressured notes while the crisp stride of “Signes” is garnished in ballerina-like twirls, lifts and jetes. The instruments transmute a lead and follow scheme which seduces the listener to move along with the established pattern.

Noviaus Tanz is innovative music with a dichotomy of electronic and acoustic sounds molding them into electrifying compositions. The improvised swags and curves add to the pieces majesty and allude to a sonic plane beyond the temporal world. 

* * *

Noviaus Tanz is a hybrid work, which includes two interpreters and virtual strings. The first step was writing the composition for violin and cello duet, which was interpreted in the studio, so traditional.

Noviaus Tanz est une oeuvre hybride,qui réunit un duo d’interprètes et des cordes virtuelles. La première étape de composition fut l’écriture du duo pourviolon et violoncelle, qui fut interprété en studio, de manière traditionelle.

Then, a second level of composition was to add digitals parts (midi). Finally it should be mixed in a spirit of integration and multiple equilibria.

Ensuite, un second niveau de composition consistait à ajouter des parties virtuelles en langage midi. Finalement, le tout devait être mixé dans un esprit d’intégration et d’équilibre multiple.

Noviaus Tanz is actually a plural dialogue. Dialogue violin-cello, celeste spring dialogue with the deep earth, and man-machine dialogue, as becomes and remains today our freedom and our chain.

Noviaus Tanz est en fait un dialogue pluriel. Dialogue violon-violoncelle, dialogue du printemps celeste avec la terre profonde, et dialogue homme-machine, tel qu’il est demeure et devient, aujourd’hui, notre liberté et notre chaîne.

* * *

Bourget Music (Metis Islands records) / Catalog number : MIM-001
All music by Claude Marc Bourget.

Recorded February 2011, Studio de l’onde, Montreal.
Engineer : Jacques Laurin, Mixing by Claude Marc Bourget and Carl Talbot.
Mastering by Carl Talbot, Le Lab Mastering, Montreal.

Critiques / Musiques de ballet


Making Beautiful Music With Just Two Hands
. “For me, playing the piano is black and white photography applied to music. It is the orchestra in equation. Everything is there, but at the principle level, behind the image, like roots under the flowers. I love black and white in photography. The piano with its black and white keys immediately gives the sign of its economy. In that sense, only the string quartet would approach it. The jazz trio too, belongs to this pure world. Other trinity, other mystery,”


« Musiques de Ballet is a phenomenal endeavor which gels multiple expressions, textures and dynamics that bend and reflect capriciously, and subsequently inject meaning into Bourget’s art. »


Pianist Claude Marc Bourget can orchestrate energizing symphonies with the nimble movements of his ten fingers across the keys of a grand piano.  The protégé of such arduous musicians as Chopin, Debussy, Stravinsky, Paul Bley, and Keith Jarrett, Bourget has a heart that is true to his passionate nature and a mind that exhibits a boundless imagination. (…) Like his predecessors, Claude Marc Bourget is not trapped into becoming a period pianist but a musician whose improvisations will be relevant for centuries to come.  His synthesis of jazz and classical music structures is inspiring and positions him to become a source of motivation for aspiring musicians to come.

Deux préludes polyphones (improvisations)

(23 janvier 2010). —  Deux improvisations du pianiste canadien Claude Marc Bourget, qui revisite à sa manière de libre jazzman l’esprit polyphonique prébaroque.
Two improvisations by the Canadian pianist Claude Marc Bourget, who plays, in his manner of free jazzman, the spirit polyphonic of pre-Baroque.

Taylor le pianiste (sur Cecil taylor)


Taylor le pianiste, par Claude Marc Bourget (pdf)


Musiques de ballet / Piano


Catalog number : AD004
Recorded in Françoys-Bernier Concert Hall Domaine Forget, Saint-Irénée, Canada.

Musiques de ballet / New Release 2010 (doc)

Épuisé / Sold Out. Bientôt chez / See you soon at Metis Islands Music.
Réédition en cours sur Bancamp (ci-dessous). Current reissue on Bancamp (see below).


Reford Gardens Suite ou 14 estampes dansées
The High Bank 1:34
Poppies of the Tsangpo 2:15
T he Exbury Azaleas 2:48
The Alpine to the Millstone 1:10
The Floral Terrace Between Rain and Sun 3:32
Blue Heron in the Pond 1:31
Belvedere on the Silver River 2:28
In Search of Gentians 1:54
Bathing Birds of the Night 4:19
Long Walk in the Royal Colors 3:28
The Crabapple Red Spring 2:38
Alone in the Stream Garden 1:27
Woodland Deepening 0:59
Supernatural Presence of the Primula 1:23

Sept entrées de ballet
Entrée à deux (homme et femme) 3:46
Entrée seul (homme) 1:10
Entrée seule (femme) 2:05
Entrée à deux (femme, enfant) 3:51
Entrée à deux (homme, enfant) 1:00
Entrée à trois (homme, femme, enfant) 2:48
Entrée seul (enfant) 0:57

À venir en réédition / To reissue :

España mística (y appostilla) 4:34

Passacailles étranges et tragiques
Première passacaille 1:44
Deuxième passacaille 1:38
Dernière passacaille 4:21

Naissance du cygne 2:55

Pas de deux 3:42

AFTER OFFERING us Second Time, Claude Marc Bourget is back with a second solo album, “Musiques de Ballet” (Ballet Music). Second Time, published under a New-York label in 2008, was quickly noticed by American and Italian Critics. Jazz review, Jazz Times, All About Jazz Italia have praised the work of Bourget. Susan Frances, from Jazz Review, wrote : “Bourget conveys deep emotions in his compositions allowing the notes to speak from his soul. He has a mind that sees music unlike anyone else’s. A virtuoso on the piano, but also as a masterful composer”.

Musiques de Ballet, a new CD from Bourget will most certainly receive equal praises, but, also, his style, his way, his themes, such as the theme from “Reford Gardens”, will reach a larger audience among music lovers. Recorded in the magnificent setting of Domaine Forget’s François Bernier Hall, this is new and fresh music, purely pianistic, with sounds of Paul Bley and Keith Jarrett, but also of Debussy, Stravisnky, Rachmaninov and Chopin. An irresistible weaving, with original colors and performance.

My Ballet Musics, says Bourget, even if they call and lead to dance, are not choreographic musics per say, or musics for dancing, but rather “dancing musics” of gesture inspiration: ballerina-pieces, in which rythms and scales dance and jump, towards an idea of Beauty. Besides, a little jazzy, a little classical, they are not Jazz, they are not Classical. Neither improvised, neither written, but recalled from a souvenir, recalled by the eye and the ear, my Ballet musics are synthesis musics. We are in the age of Synthesis, of the rolling echo of centuries, of the new look on the sound memories of time.”

« Mes musiques de ballet, bien qu’elles appellent et conduisent à la danse, ne sont pas des musiques chorégraphiques au sens premier, ou des musiques pour la danse, mais des musiques dansantes et d’inspiration gestuelle : des musiques-ballerines, dont toujours dansent et sautent, vers une idée de la Beauté, les cadences et les gammes. Par ailleurs, un peu jazzantes, un peu classiques, elles ne sont pas du jazz, elles ne sont pas du classique. Ni improvisées, ni écrites, mais rappelées par le souvenir, remémorées par l’œil et par l’ouïe, mes musiques de ballet sont des musiques de synthèse. Nous sommes à l’âge des synthèses, de l’écho roulant des siècles, du regard nouveau porté sur la mémoire sonore du temps ».


Critiques / Second Time


(…) Second Time, realizzato in perfetta solitudine su uno Steinway gran coda (suono magnifico!), si sviluppa infatti come un lungo racconto, come una lunga suite. Preceduta da un cappello introduttivo, la prima parte si muove lungo le coordinate « consuete » del piano solo in chiave jazz. Gli inevitabili echi jarrettiani, dunque. Ma assai più forte, in Bourget, è l’impronta del conterraneo Paul Bley. L’amore per la risoluzione inattesa, per il cambio d’umore che, nello spazio di una nota, ci porta da un gioioso maggiore ad una malinconia più intima.

Con lo scorrere delle tracce si insinuano qua e là, fino a diventare predominanti, gli echi classici. Non solo dal punto di vista compositivo (Brahms e Beethoven, cuore della seconda parte), ma anche da quello esecutivo. La mano sinistra, spesso trascurata dai pianisti jazz, svolge qui un lavoro enorme diventando a tratti la vera protagonista.  ⎯ Paolo Peviani


Bourget creates a balance between the deposits of rage and peacefulness in nature. His compositions channel the moods which guide nature’s course, and draws out its beauty even when confronted with its darker, brooding tirades. Second Time demonstrates Bourget’s agility as a pianist, and skillfulness to convey nature’s messages to audiences. He shows a desire for challenges, and a need to master them. ⎯ Susan Frances


« The intensity of the music and the quality of the recording pull you into the music, until you feel almost as if you are sitting alone in a concert hall. (…) No matter whether you are solo piano aficionado or not, Bourget’s sound is enthralling.  His technical and creative facilities alone are admirable, but the sheer intensity of his music is enough to draw the most callused listener in.  When so much music follows set forms of conformity and repeating phrases, it’s easy to get lost in the long, full themes that seem to never end.  I am not traditionally a fan of solo piano works, and I probably won’t go out and buy any right away, but this album will definitely have a spot in my listening library. » ⎯ Lorelei Clarke


“ Bourget’s compositions are strictly focused as well as free to soar as high as the creative imagination will allow and sink as low as the heart’s emotional abyss. Through the episodes of deep contemplation and mesmerizing flights, Bourget exhibits impressive maturity that causes people to stop in their tracks and listen to him. (…) His long stretches of wanderings wicked by the piano keys seem mysteriously guided, as even the moments of transgressions manage to stay on course like they are under a trance, which stops them from trailing away from their objective, and every track resounds with an objective in mind. (…) His album Second Time shows his skills as a virtuoso on the piano, but also as a masterful composer and arranger. At 52 years of age, Bourget does not seem to want to turn back time, but to move ahead with it, as Second Time embraces huge challenges and tests Bourget’s reflexes to move spontaneously along the changing tides.” ⎯ Susan Frances


« Bourget est un pianiste exigeant. Introspectif par moment, plus exubérant sur certains morceaux, il nous fait vivre toute une gamme d’émotions. Il faut se laisser envelopper par sa musique, dont l’émotion se dévoile par couches successives comme l’aube naissante révèle les détails qui nous entourent. La musique de Bourget est majestueuse, vecteur de tous les chagrins, joies et espoirs qui y transitent sereinement. » ⎯ Jazz Frisson).


Bourget “explore a mysterious and vast territory. A great gust of wind blowing the melodies against a wall of sound”. (Live Music Report) . / Read the full review byJessica Lombardi.

Second Time, Improvisation circle

新しいリリースでは、 月 2回目は、即興サイクル

Quebec Improvised Musics Society

Épuisé / Sold Out. Bientôt chez / See you soon at Metis Islands Music.

“Emotional, uninhibited,
and hauntingly beautiful.”

Susan Frances, Jazz Review

Second Time New release 2008 (pdf / 399 Ko)



Opening 1:40

Part I
Northern Restlessness     5:19
Interlude 1:02
Plays Of Winds 5:08
Dance Of The Large Bird 5:02
Secret Ice 4:27

Part II
Second Time 6:57
Lull In Ashes (Brahms) 4:00
Song Of Destiny (Beethoven) 3:14
Song Of Past  2:55
Tides Of Hopewell Rocks 2:48

Part III
Dripping Of Whiteness 3:36
Ungrund      5:08
River In The Air 3:51
Awakening Cycle 5:22
Coda 0:59

Rising Death (Adagio) 3:36