Emilie Cecilia LeBel
Canadian composer Emilie LeBel is active in the music community in various capacities: composing, teaching, curating and organizing. Described as having a “deft compositional hand, unwilling to hurry ideas”, and “impressively subtle and sensuous”, Emilie specializes in concert music composition, the creation of mixed works that employ digital technologies, and intermedia concert works. Her work inhabits sonic worlds that are primarily concerned with textural landscapes, resonance, and variances in colour. An active collaborator, the 2017-18 concert season brings performances in Canada, the United States, Brazil, England, Germany, Austria, and France.
Emilie’s compositions have been performed/recorded by Mark Takeshi McGregor, Vancouver Symphony Orchestra, Cecilia String Quartet, Plumes Ensemble, Quatuor Bozzini, Land’s End Ensemble, Awea Duo, Luciane Cardassi, Mira Benjamin, Black House Collective, Stephanie Chua, Terri Hron, National Youth Orchestra of Canada, Thin Edge New Music Collective, Onyx Trio and junctQín keyboard collective, among others. Her work has also been presented at festivals and workshops with the Arditti Quartet, Esprit Orchestra, Ensemble Contemporain de Montréal and Trio 7090. Emilie’s artistic practice has been recognized through significant awards, including the Land’s End Ensemble Composer Competition (2016), Toronto Arts Foundation Emerging Artist Award (2015), Canadian Music Centre Toronto Emerging Composer Award (2012), and the Canadian Federation of University Women Elizabeth Massey Award (2012). Her work has received support through grants with the Ontario Arts Council, Canada Council for the Arts, The Banff Centre, Canadian Music Centre, University of Toronto, University of Montana, and the SOCAN Foundation.
Emilie was the 2015-16 TD SoundMakers Composer-in-Residence with Soundstreams Canada and Jumblies Theatre, and the 2015 RBC Emerging Composer-in-Residence for the National Youth Orchestra of Canada. She has participated in a variety of residencies, conferences and festivals, including John Donald Robb Composers’ Symposium, June in Buffalo, Northwestern University New Music Conference, Soundstreams Emerging Composer Workshop, Montréal Contemporary Music Lab, Gaudeamus Deconstructed and Reconstructed, Le Centre d’arts Orford Sound Art Workshop, Scotia Festival of Music, Sound Travels Festival, Deep Wireless Festival of Radio and Transmission Art, The Banff Centre, Canadian Contemporary Music Workshop, Quatuor Bozzini Composers’ Kitchen, Arraymusic Young Composers’ Workshop, Leighton Artist Colony and the Vancouver International Song Institute Art Song Lab.
Emilie completed her doctorate in composition at the University of Toronto in 2013. Her thesis Light Traveller, under the guidance of Gary Kulesha, was an orchestral work exploring the variances of light in the photographs of Josef Sudek. Her research, under the guidance of Robin Elliott, investigated how Canadian Broadcasting Corporation radio programming and associated activities facilitated the development of contemporary art music creation in Canada from 1967 to 2012. In 2014, she undertook private composition studies with Juliet Palmer, Christopher Butterfield and Michael Finnissy. Emilie completed a BFA and MA at York University, and an Honours Diploma in audio engineering and music production at Harris Institute for the Arts.
Emilie currently splits her time between Missoula (MT USA), and Toronto (ON Canada). She teaches composition and music technology at the University of Montana, and previously taught at the University of Toronto Scarborough, McMaster University, and the Regent Park School of Music. She presently serves on the Canadian Music Centre Ontario Regional Advisory Council. She is a member of Blue Moss Ensemble with composers Anna Höstman and Mitch Renaud, an Associate Composer at the Canadian Music Centre, and a member of the Canadian League of Composers.