the album Deux cents nuits à l'heure, a side-project headed by Serge Fiori and Richard Séguin under the name Fiori-Séguin in mid-1977. Harmonium's last concert is said to have taken place at the Centre de la Nature in Laval, Quebec, in late 1978. Harmonium en tournée, a live version of L'Heptade recorded in Vancouver in 1977, was released in 1980. In 2007, all three of Harmonium's studio albums were named among the 100 greatest Canadian albums of all time in Bob Mersereau's book The Top 100 Canadian Albums. They were the only francophone albums from Quebec named to the list besides Jean-Pierre Ferland's Jaune. L'Heptade XL, a remixed version of the album, with a few minutes of new recordings, was released on November 18th 2016 to celebrate its fortieth anniversary. The initial mix of l`Heptade was made as the group was touring in the USA. The remastering reflected more closely the vision of Fiori, into fully open music compared to the original studio mix. It was accompanied by the release of an extra song recorded live in 1977, called C'est dans le noir, available on iTunes. This song was recorded at the National Arts Centre in Ottawa during the tour for the album. Viens voir le paysage, a film of one of these performances, was also released on DVD for the same occasion. In 2018, the group were awarded honorary Prix Félix at the 40th annual Gala de l'ADISQ. Despite being one of the most influential bands in Quebec music history, the band never won a Félix as they had broken up by the time the awards were launched. A remix from the original 16-track master tapes of the group's first album, titled Harmonium XLV was released in December 2019 which includes a different take of the hit Pour un instant. A reissue of Si on avait besoin d'une cinquième saison is also in the works. In 2020, Simon Leclerc scored a full orchestral version of the totality of Harmonium's music and recorded it with the Montreal Symphony Orchestra. The album came as a surprise for Serge Fiori, who called it a masterpiece and maybe the best versions of his music as he stated in an interview at Radio-Canada, that this represented the ultimate evolution of his music that from day one was most likely meant to be played with such orchestral arrangements. "Histoires sans paroles : Harmonium symphonique" is