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electroradio
Bédé (1990) 2m56s cat_116-1.1 | 14251 |Le monde de l’enfance [The Realm of Childhood]; La vallée des fantômes [The Valley of Phantoms]; La quête de la voix [In Search of the Voice] Composer: Robert Normandeau Commission: empreintes DIGITALes Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec) To my parents Borrowed from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude (Éditions de l’Homme, Montréal, 1989), the sounds used to create this miniature are taken from comic strips (bande dessinée in French, or its acronym BD—pronounced ‘bay day’), traditionally associated with childhood. Contrary to popular belief, I have never felt that childhood is a carefree time filled with happy and marvelous things. Rather it is a battleground where the child not only struggles against the exterior world of adults, but must encounter the enemies within—the demons, the phantoms. The voice of Marie-Hélène Blain, 11 years old, is the one and only sonorous element of the piece. Robert Normandeau [xi-90] Bédé was produced at the composer’s studio and at the Groupe de recherches musicales (Ina-GRM) in Paris with the assistance of the Canada Council [for the Arts]. The piece was presented on November 2, 1990 at the Montréal musiques actuelles festival. Bédé was commissioned by empreintes DIGITALes and was recorded on the disc Électro clips [IMED 9004, IMED 9604] in 1990; a stereo recording of a multitrack sound diffusion was produced at The Banff Centre for the Arts (engineers: Antonio Oliart and Stephanie Rogers; assistant: Jennifer Lewis) in July, 1993, and recorded on the disc Tangram [IMED 919/20]; a ramastered studio version was recorded on the rerelease of Tangram [IMED 9920] in 1999. 1a. Le monde de l’enfance (1990) cat_116-1.1.1a | 23743 |Composer: Robert Normandeau Borrowed from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude (Éditions de l’Homme, Montréal, 1989), the sounds used to create this miniature are taken from comic strips (bande dessinée in French, or its acronym BD—pronounced ‘bay day’), traditionally associated with childhood. Contrary to popular belief, I have never felt that childhood is a carefree time filled with happy and marvelous things. Rather it is a battleground where the child not only struggles against the exterior world of adults, but must encounter the enemies within—the demons, the phantoms. The voice of Marie-Hélène Blain, 11 years old, is the one and only sonorous element of the piece. Bédé was produced at the composer’s studio and at the Groupe de recherches musicales (Ina-GRM) in Paris with the assistance of the Canada Council [for the Arts]. The piece was presented on November 2, 1990 at the Montréal musiques actuelles festival. Bédé was commissioned by empreintes DIGITALes and was recorded on the disc Électro clips [IMED 9004, IMED 9604] in 1990; a stereo recording of a multitrack sound diffusion was produced at The Banff Centre for the Arts (engineers: Antonio Oliart and Stephanie Rogers; assistant: Jennifer Lewis) in July, 1993, and recorded on the disc Tangram [IMED 919/20]; a ramastered studio version was recorded on the rerelease of Tangram [IMED 9920] in 1999. 1b. La vallée des fantômes (1990) cat_116-1.1.1b | 23744 |Composer: Robert Normandeau Borrowed from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude (Éditions de l’Homme, Montréal, 1989), the sounds used to create this miniature are taken from comic strips (bande dessinée in French, or its acronym BD—pronounced ‘bay day’), traditionally associated with childhood. Contrary to popular belief, I have never felt that childhood is a carefree time filled with happy and marvelous things. Rather it is a battleground where the child not only struggles against the exterior world of adults, but must encounter the enemies within—the demons, the phantoms. The voice of Marie-Hélène Blain, 11 years old, is the one and only sonorous element of the piece. Bédé was produced at the composer’s studio and at the Groupe de recherches musicales (Ina-GRM) in Paris with the assistance of the Canada Council [for the Arts]. The piece was presented on November 2, 1990 at the Montréal musiques actuelles festival. Bédé was commissioned by empreintes DIGITALes and was recorded on the disc Électro clips [IMED 9004, IMED 9604] in 1990; a stereo recording of a multitrack sound diffusion was produced at The Banff Centre for the Arts (engineers: Antonio Oliart and Stephanie Rogers; assistant: Jennifer Lewis) in July, 1993, and recorded on the disc Tangram [IMED 919/20]; a ramastered studio version was recorded on the rerelease of Tangram [IMED 9920] in 1999. 1c. La quête de la voix (1990) cat_116-1.1.1c | 23745 |Composer: Robert Normandeau Borrowed from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude (Éditions de l’Homme, Montréal, 1989), the sounds used to create this miniature are taken from comic strips (bande dessinée in French, or its acronym BD—pronounced ‘bay day’), traditionally associated with childhood. Contrary to popular belief, I have never felt that childhood is a carefree time filled with happy and marvelous things. Rather it is a battleground where the child not only struggles against the exterior world of adults, but must encounter the enemies within—the demons, the phantoms. The voice of Marie-Hélène Blain, 11 years old, is the one and only sonorous element of the piece. Bédé was produced at the composer’s studio and at the Groupe de recherches musicales (Ina-GRM) in Paris with the assistance of the Canada Council [for the Arts]. The piece was presented on November 2, 1990 at the Montréal musiques actuelles festival. Bédé was commissioned by empreintes DIGITALes and was recorded on the disc Électro clips [IMED 9004, IMED 9604] in 1990; a stereo recording of a multitrack sound diffusion was produced at The Banff Centre for the Arts (engineers: Antonio Oliart and Stephanie Rogers; assistant: Jennifer Lewis) in July, 1993, and recorded on the disc Tangram [IMED 919/20]; a ramastered studio version was recorded on the rerelease of Tangram [IMED 9920] in 1999. 2. Éclats de voix (1991) 14m51s cat_116-1.2 | 14207 |Jeu et rythme [Play and Rhythm]; Tendresse et timbre [Tenderness and Timbre]; Colère et dynamique [Anger and Dynamics]; Tristesse et espace [Sadness and Space]; Joie et texture [Joy and Texture] Composer: Robert Normandeau Commission: CKUT FM, with support from the CCA Premiere: September 26, 1991, CKUT FM (Montréal, Québec) To Martine Blain The primary visual imagery of the title (Bursts of Voices), the fragmentation of the voice into little shatters, is augmented by the connotation of anger — a child’s sudden anger which appears like a tornado, to disappear just as quickly. The voice is of an 11-year-old child who wholeheartedly joined in the game of recording dozens of sounds from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude. The work is divided into five sections which represent childhood ‘states’ and a corresponding sonorous parameter. These different sections are presented one after the other in concert, or separately when broadcast on radio. Éclats de voix was produced at the composer’s studio and at the Groupe de recherches musicales (GRM) in Paris from recordings of the voice of Marie-Hélène Blain. It was premiered on September 26, 1991 by CKUT FM in Montréal and recorded on the compact disc Prix international Noroit-Léonce Petitot 1991 (NOR2). Éclats de voix was commissioned by CKUT with the assistance of the Canada Council [for the Arts]. The present version is a stereo recording of multitrack sound diffusion realized at The Banff Centre for the Arts (engineers: Antonio Oliart and Stephanie Rogers; assistant: Jennifer Lewis) in July, 1993. The piece was awarded the 1st Prize by Jury and tied for the Public’s Prize at the 2nd Prix international Noroit-Léonce Petitot (Arras, France, 1991). It was awarded a mention at the Stockholm Electronic Arts Award Competition (Sweden, 1992), an Honorable Mention at Ars Electronica (Linz, Austria, 1993) and a 1st Mention at the Bourges International Electroacoustic Competition (France, 1993). Spleen (1993) 15m00s cat_116-1.3 | 14208 |Musique et rythme [Music and Rhythm]; Mélancolie et timbre [Melancholy and Timbre]; Colère et dynamique [Anger and Dynamics]; Frustration et espace [Frustration and Space]; Délire et texture [Frenzy and Texture] Composer: Robert Normandeau Premiere: December 10, 1993, Journées Électro-Radio Days (Montréal, Québec) Spleen is comprised solely of the voices of four adolescents, aged 16 years. The title refers to one of the most significant moods of the adolescent: this kind of sudden melancholy which surfaces for no apparent reason. This work is a sequel to a previous piece, Éclats de voix, which utilized dozens of sounds from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude as a sonorous base. Onomatopoetic, the material is extremely rich because it represents those instances when the sounds of human language correspond directly to the designated object or to the expression of a sentiment. The piece is divided into five sections which represent typical situations for the adolescent, and a corresponding sonorous parameter. These sections are presented successively in concert, or separately when broadcast on radio. Spleen was produced at the composer’s studio from recordings of the voice of Marc Gilbert, Laurent-Josée Sainte-Marie, Nicolas Thériault and Patrick Virar. It was premiered during the radio festival Journées Électro-Radio Days broadcast live in Montréal, Toronto and Vancouver on December 10, 1993. Spleen was realized with the assistance of the Audio program of the Media Arts Section of the Canada Council [for the Arts]. The piece was awarded the Public’s Prize at the 3rd Prix international Noroit-Léonce Petitot (Arras, France, 1994). 3a. Musique et rythme (1993) 4m05s cat_116-1.3.3a | 23727 |Composer: Robert Normandeau 3b. Mélancolie et timbre (1993) 2m40s cat_116-1.3.3b | 23728 |Composer: Robert Normandeau 3c. Colère et dynamique (1993) 2m50s cat_116-1.3.3c | 23729 |Composer: Robert Normandeau 3d. Frustration et espace (1993) 2m01s cat_116-1.3.3d | 23730 |Composer: Robert Normandeau 3e. Délire et texture (1993) 3m17s cat_116-1.3.3e | 23731 |Composer: Robert Normandeau Matrechka (1986) 13m53s cat_116-1.4 | 14383 |Acousmatic piece in seven sections: Composer: Robert Normandeau Premiere: June 1, 1986, Université du Québec à Trois-Rivières (Trois-Rivières, Québec) To Lucie This piece, similar to Matrechka, the nest of Russian dolls from which the title originates, takes in the form of an unveiling, a journey where reality, of a certain form, gives place to another reality. It uses the theme, dear to surrealists, that art should never be mistaken for the object it represents. Thus, in a painting entitled L’air et la chanson (The Tune and the Song), René Magritte writes under what seems to be: “Ceci n’est pas une pipe” (This is not a pipe). Thus, waves, breaths, even music originate from elsewhere; they are presented in unnatural forms. From a tumultuous exterior and chaos, we gradually progress towards a helpless and anxious interior. The sound objects progressively adopt new and unheard-of forms, and resemble less and less the real objects from which they arise. [ii-90] Matrechka was realized between 1984 and 1986 at the studio of the Université de Montréal and at the composer’s studio from sound material created for six holosculptures of Georges Dyens. The work was premiered on May 1st, 1986 at the Université du Québec à Trois-Rivières (UQTR). Matrechka was awarded the prize of the French National Federation of Electroacoustic Music, a Mention at the 14th Bourges International Electroacoustic Music Competition (France, 1986) and the Métamorphoses d’Orphée Studio prize (Ohain, Belgium) at the 1st Phonurgia-Nova International Competition (Arles, France, 1986). 4a. Chaos (1987) 1m19s cat_116-1.4.4a | 23712 |Composer: Robert Normandeau 4b. Gris acier (1987) 1m37s cat_116-1.4.4b | 23713 |Composer: Robert Normandeau 4c. Outremer (1987) 1m44s cat_116-1.4.4c | 23714 |Composer: Robert Normandeau 4d. Terre de sienne brûlée (1987) 2m21s cat_116-1.4.4d | 23715 |Composer: Robert Normandeau 4e. Bleu de cobalt (1987) 1m56s cat_116-1.4.4e | 23716 |Composer: Robert Normandeau 4f. Pourpre (1987) 1m35s cat_116-1.4.4f | 23717 |Composer: Robert Normandeau 4g. Terre d’ombre (1987) 3m21s cat_116-1.4.4g | 23718 |Composer: Robert Normandeau 5. Le cap de la tourmente (1984-85) 7m24s cat_116-1.5 | 14384 |One of the five soundtracks from Musique holographique (1985) Composer: Robert Normandeau Premiere: January 15, 1985, Obscure (Quebec City, Québec) This work was composed in 1984-85 for an exhibit of five holosculptures (sculptures with holograms) by Georges Dyens. The pieces were swept across by lights in cycles alternating appearance and disappearance and were positioned as far as possible from each other. Each piece had a different soundtrack in continuous playback. As the viewers/listeners moved around the gallery, they not only changed their visual focus but also their sonic environment, realizing their own mix of the sounds. Musique holographique is an electroacoustic concert piece based on these sound materials proposing one of the many possible journeys through the exhibit, this version being the most representative of the spirit of the music from my perspective. The complete work has a duration of thirty-two minutes and could not be included on this recording; it is represented by one of its five soundtracks: Le cap de la tourmente. Some elements of this soundtrack were used again in three other works: Matrechka, La chambre blanche and Rumeurs (Place de Ransbeck). [ii-90] Musique holographique was realized in 1984-85 at the composer’s studio and was premiered on January 15th, 1985 at Obscure (Québec City). The original holosculpture (by Georges Dyens) and the soundtrack are part of the permanent collection of the Holographic Museum, New York City (USA). 6. Ellipse (1999) 11m59s cat_116-1.6 | 14464 |Composer: Robert Normandeau Commission: Arturo Parra , with support from the CCA Premiere: May 15, 1998, Parr(A)cousmatique, 15e Festival international de musique actuelle de Victoriaville (FIMAV), Cégep de Victoriaville (Victoriaville, Québec) To Arturo Parra Ellipsis is one of the figures of speech. It is the art of not saying everything, of omitting words, parts of sentences and elements of meaning, and of then allowing the interlocutor, the listener, to fill in the blanks. There are two people in this conversation. First there is Arturo Parra, who commissioned this work in order to produce a mixed version for guitar and tape (which is entitled L’envers du temps). So I composed this piece with him in mind, and left him enough space to move around in. As the composer of the piece for solo tape I am the other person talking. Knowing how cohesive the acousmatic version is when it is performed in concert, I decided to let the guitarist colour the work not just by providing him with sound elements but by also giving him access to some of the key elements. And in fact the tape that Parra uses today is different from the acousmatic version. The works had the same starting point, but diverged along the way. Ellipse was realized between 1997 and 1999 in my studio and at the Faculté Polytechnique de Mons (Belgium). Thanks to Todor Todoroff. The work was commissioned by the guitarist Arturo Parra with the support of the Canadian Council for the Arts. It was premiered at the Festival international de musique actuelle de Victoriaville (Québec) on May 15th, 1998. electrocd.com Robert Normandeau: Sonars: track detail |
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