Robert Normandeau: Tangram: track detail

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Tangram

Robert Normandeau

Tangram

empreintes DIGITALes | IMED 9920 | 1999

Reissue from IMED 9419/20.

CD 25.00 CA$ [?]

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Bédé (1990) 2m56s imed_9920-1.1 | 14251 | ISRC CAD509813500

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]

MP3 Real

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) imed_9920-1.1.1a | 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) imed_9920-1.1.1b | 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) imed_9920-1.1.1c | 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.

Éclats de voix (1991) 14m51s imed_9920-1.2 | 14207 | ISRC CAD509813510

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).

2a. Jeu et rythme (1991) 3m56s imed_9920-1.2.2a | 23722 |

Composer: Robert Normandeau

2b. Tendresse et timbre (1991) 2m40s imed_9920-1.2.2b | 23723 |

Composer: Robert Normandeau

2c. Colère et dynamique (1991) 2m50s imed_9920-1.2.2c | 23724 |

Composer: Robert Normandeau

2d. Tristesse et espace (1991) 2m01s imed_9920-1.2.2d | 23725 |

Composer: Robert Normandeau

2e. Joie et texture (1991) 3m17s imed_9920-1.2.2e | 23726 |

Composer: Robert Normandeau

Spleen (1993) 15m00s imed_9920-1.3 | 14208 | ISRC CAD509813520

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 imed_9920-1.3.3a | 23727 |

Composer: Robert Normandeau

3b. Mélancolie et timbre (1993) 2m40s imed_9920-1.3.3b | 23728 |

Composer: Robert Normandeau

3c. Colère et dynamique (1993) 2m50s imed_9920-1.3.3c | 23729 |

Composer: Robert Normandeau

3d. Frustration et espace (1993) 2m01s imed_9920-1.3.3d | 23730 |

Composer: Robert Normandeau

3e. Délire et texture (1993) 3m17s imed_9920-1.3.3e | 23731 |

Composer: Robert Normandeau

Tropes (1991) 13m49s imed_9920-1.4 | 14209 | ISRC CAD509813530

Composer: Robert Normandeau

Commission: Société Radio-Canada

Premiere: December 3, 1991, Réseau FM de Radio-Canada (Ottawa, Ontario, Canada)

To Claire Bourque

One way to trope is to add words or musical elements to an existing piece. The troped work in this case is that of Mozart, more particularly, his chamber music. As such, all the sounds of this piece come from his music for strings, winds, piano and voice. The sonorities of the original instruments are metamorphosed in such a way to render them ‘unreal’, notably by means of temporal transformations. The sounds of the voices are extended past the human lung capacity, and the general virtuosity of the work exceeds that of today’s best soloists. In this way, any and all comparisons to the original are irrelevant.

I tried to discern the contemporary principles in Mozart’s work, those which led, in this day and age, to developments undreamed of in his time. In addition to his chamber music, I used a passage from Concerto for Clarinet. My first musical memory, I recall being fascinated by the record jacket which showed a clarinet deconstructed into five sections. I can’t help but think that it was a premonition of my future vocation as a composer, as a foretelling of the creation of this piece. To take apart and put together, to destroy and create — paired actions in any artistic endeavor.

Tropes was produced at the composer’s studio in 1991 and revised in 1993. It was presented during the concert, Mozart l’intimiste, broadcast on radio on December 3, 1991 in Ottawa (Canada) as a part of the festivities to mark the 200th anniversary of Mozart’s death. 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 commissioned by the Service des émissions musicales du Réseau FM de Radio-Canada.

4a. Ouverture (1991) 2m03s imed_9920-1.4.4a | 23732 |

Composer: Robert Normandeau

4b. 1er mouvement (1991) 3m15s imed_9920-1.4.4b | 23733 |

Composer: Robert Normandeau

4c. 2e mouvement (1991) 3m46s imed_9920-1.4.4c | 23734 |

Composer: Robert Normandeau

4d. 3e mouvement (1991) 2m26s imed_9920-1.4.4d | 23735 |

Composer: Robert Normandeau

4e. 4e mouvement (1991) 2m14s imed_9920-1.4.4e | 23736 |

Composer: Robert Normandeau

Tangram (1992) 27m05s imed_9920-1.5 | 14210 | ISRC CAD509813540

Ouverture éclair (‘zipper’) [Opening of the Zipper]; Printemps (eau et verre) [Spring (Water and Glass)]; Été (feu et papier) [Summer (Fire and Paper)]; Automne (terre et bois) [Autumn (Earth and Wood)]; Hiver (air et métal) [Winter (Air and Metal)]; Fermeture éclair (‘zipper’) [Closing of the Zipper]

Composer: Robert Normandeau

Premiere: May 19, 1992, Planétarium de Montréal (Montréal, Québec)

To Francis Dhomont

Tangram is also the name of a Chinese puzzle consisting of seven fundamental geometric forms from which one can reconstruct existing patterns, or create new configurations. This work is inspired by the spirit of the game, the ability to associate and combine simple elements to form recognizable complex structures, recognizable because of the very figurative representations. This piece is part of the ‘cinema for the ear’ opus, a cycle of work undertaken and developed from 1990-93. Tangram consists of six sections and takes the listener on a tour of the seasons, highlighting the elements and materials associated with each.

Tangram was produced between 1989 and 1992 then reworked in 1993 at the composer’s studio. Certain sounds come from the collection of instruments of the Department of Ethnomusicology of the Faculty of Music, Université de Montréal. In addition, it contains Fragments, a work commissioned by the Musée d’art contemporain de Montréal for the concert inaugurating its new edifice on May 29, 1992. Tangram was presented on the 19th and 20th of May, 1992 at the Planétarium de Montréal during the celebrations for the 350th anniversary of the founding of the city of Montréal. 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. Tangram was made possible by grants from the Canada Council [for the Arts] and from the ministère des Affaires culturelles du Québec.

5a. Ouverture éclair (‘zipper’) (1992) 5m38s imed_9920-1.5.5a | 23737 |

Composer: Robert Normandeau

5b. Printemps (eau et verre) (1992) 5m40s imed_9920-1.5.5b | 23738 |

Composer: Robert Normandeau

5c. Été (feu et papier) (1992) 4m12s imed_9920-1.5.5c | 23739 |

Composer: Robert Normandeau

5d. Automne (terre et bois) (1992) 5m15s imed_9920-1.5.5d | 23740 |

Composer: Robert Normandeau

5e. Hiver (air et métal) (1992) 5m15s imed_9920-1.5.5e | 23741 |

Composer: Robert Normandeau

5f. Fermeture éclair (‘zipper’) (1992) 1m00s imed_9920-1.5.5f | 23742 |

Composer: Robert Normandeau

Robert Normandeau: Tangram: track detail

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