The thought behind Points de mire (Focal points) was to
concentrate about a single thing in a musical composition.
In the first movement, Point d’équilibre (Balance point), it’s about
finding the right balance between the voices, the complementarity
of rhythms, melodies, phrases, etc.
In the second, Points de vue (Points of view), I wanted to state that
you can talk about one thing, musically speaking, but in different
ways, four of them in total, each separated by a rest and a change
in the time signature.
In the third, Point de non-retour (Point on no return), the idea was to
create a piece in which once you started, you could not stop,
almost to the point where you have to forget what has just been
said in order to move forward until the end.
Jean Boisvert is a French-Canadian composer, pianist and
storyteller living in Montreal, in the province of Quebec. He
studied the piano, the composition and the musical writing
techniques at the University of Montreal.
As a composer, he specializes in chamber music, especially
the piano, but also have a fondness for woodwind
instruments, having composed a variety of pieces for flute,
oboe, clarinet and recorder, his second instrument.
One of these, a quartet (SATB) entitled Berceuse-fantaisie
(Lullaby-fantasia), won, in 2007, shared 1st Prize in the ARS
Chicago Chapter Biennial Recorder Composition Contest. It
was published in 2009 as a supplement to the magazine
American Recorder, distributed to the members of the
Society in 47 countries.
In 2020, another recorder quartet of Jean Boisvert, Points de
mire, was awarded shared 2nd Prize in the Recorder Festival
Nordhorn Recorder Composition Competition.