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La part des anges

Robert Normandeau

  • Year of composition: 2011, 12, 18
  • Duration: 14:37
  • Instrumentation: multichannel fixed medium (Klangdom)

Stereo

ISRC CAD501410022

  • 44,1 kHz, 16 bits
  • 44,1 kHz, 24 bits

This work explores sampling, dispersal, fragmentation, extraction, and distillation. This is the “angels’ share,” the volatile part of aging alcohol that slowly evaporates through the walls of the barrel.

Here, the material that evaporates are a capella songs from different cultures and different historical periods. These songs that cross the ages and come from everywhere where the musical traditions are very old. I tried to keep their timbre while extracting only the volatile part of their essence.

[ix-18]


La part des anges [The Angels’ Share] was realized in 2011 in the studios of the Zentrum für Kunst und Medientechnologie Karlsruhe (ZKM, Germany), and at the Faculty of Music of the Université de Montréal (Québec) and premiered on November 26, 2011 during the festival Imatronic 2011 in Karlsruhe (Germany). The piece reworked in 2012 in the same studios premiered on November 29, 2012 at the Festival Trans_Canada Reloaded in Karlsruhe (Germany). The piece was completely redesigned in 2018 at the Université de Montréal and premiered on May 4, 2018 during the Substrat #1 concert in the Satosphère of the Société des arts technologiques (SAT) in Montréal. The residence at the ZKM followed the Giga-Hertz-Preis in 2010. La part des anges was specially composed for a dome of loudspeakers. Thanks to Ludger Brümmer and Götz Dipper. The work was awarded an Honorable Mention in the Musica Nova 2012 International Competition of Electroacoustic Music (Prague, Czech Republic).


Premiere

  • November 26, 2011, Imatronic 2011: Preisverleihungen und Konzerte, ZKM_Kubus, Karlsruhe (Germany)
  • November 29, 2012, Premiere of the 2012 version: Imatronic Extended 2012: Sounds − GRM Akusmonium und der Klangdom: trans_canada reloaded II, ZKM_Kubus, Karlsruhe (Germany)
  • May 4, 2018, Premiere of the 2018 version: Substrat #1 — Akousma, Satosphère — Société des arts technologiques, Montréal (Québec)

Awards


About this recording

This is a stereophonic reduction of the 2012 version.

Kuppel

Robert Normandeau

  • Year of composition: 2005-06, 14
  • Duration: 17:49
  • Instrumentation: stereo fixed medium
  • Commission: ZKM

Stereo

ISRC CAD501410023

  • 44,1 kHz, 16 bits
  • 48 kHz, 24 bits

Kuppel is made of three recordings made in Karlsruhe (Germany) during a two months stay in the Fall 2005. Some of these recordings were made outside — the tramways of the city which have a very specific sonority, very calm in fact, and the church chime of the Markplatz — and inside — the sound of a squeaking door adjacent to the studio where I was working at the Zentrum für Kunst und Medientechnologie Karlsruhe (ZKM). The work has been composed specially for the dome of loudspeakers installed in the ZKM_Kubus. I had this architecture in mind while I started to work with the sound material. This work is a glimpse to the inhabitants of Karlsruhe as well as to the people who welcomed me during my stay. But I didn’t want to tell them the whole truth at the beginning of the work. Thus the sonorities and the timbres unveil progressively and really make sense at the end of the work. Kuppel is part of the Immersive Music cycle which includes StrinGDberg (2001, 02, 03), Éden (2003), and Palindrome (2005-06, 07).

[viii-14]


Kuppel [Dome] was realized in 2005-06 in the studios of the Zentrum für Kunst und Medientechnologie Karlsruhe (ZKM, Germany) and at the composer’s studio in Montréal. The work has been commissioned by the ZKM where it was premiered on December 9, 2006. The piece was presented on the Klangdom of the ZKM (26 tracks, 43 speakers). Thanks to Ludger Brümmer. The present version was made in the summer of 2014.


Premiere

  • December 9, 2006, Robert Normandeau, diffusion • trans_canada_release: Robert Normandeau, ZKM_Kubus, Karlsruhe (Germany)

Pluies noires

Robert Normandeau

  • Year of composition: 2008, 14
  • Duration: 11:16
  • Instrumentation: stereo fixed medium
  • Commission: Miso Music Portugal, Réseaux des arts médiatiques, with support from the CALQ

Stereo

ISRC CAD501410024

  • 44,1 kHz, 16 bits
  • 48 kHz, 24 bits

Inspired by the theatre play Blasted by Sarah Kane, for which I have composed the music in a stage direction by Brigitte Haentjens in 2008, the title is referring to pauses indicated in the play that punctuate it: spring rain, summer rain, fall rain, and winter rain. But all these rains can hardly wash the darkness of the human soul at war, especially that of Bosnia that the play makes implicit reference.

[ix-08]


Pluies noires [Black Rains] was realized in 2008 at the composer’s studio and premiered on September 25, 2008 during the Música Viva 2008 festival in Lisbon (Portugal) and on the December 13, 2008 at the Akousma (5) festival in Montréal. The piece was commissioned by Miso Music Portugal and Réseaux des arts médiatiques (Québec) with support from the Conseil des arts et des lettres du Québec (CALQ). Thanks to Ida Toninato (recorded baritone saxophone). The final version was made in the summer of 2014.


Premiere

  • September 25, 2008, Música Viva 2008: Orquestra de Altifalantes III, Pequeno Auditório, Lisbon (Portugal)

Hamlet-Machine without Actors

Robert Normandeau

  • Year of composition: 2014
  • Duration: 8:54
  • Instrumentation: stereo fixed medium

Stereo

ISRC CAD501410025

  • 44,1 kHz, 16 bits
  • 48 kHz, 24 bits

Adapted from the music composed for the play Hamletmachine (1979) by Heiner Müller (1929-1995), staged by Brigitte Haentjens in Montréal in 2001.

The music was omnipresent during the play, one hour and fifteen minutes of music. About thirty different themes were used. For the concert version, I reworked all the sounds and recomposed every sequence in order to produce an autonomous version. For the first time in many years I have used electronic sounds. The title echoes a previous work, Hamlet-Machine with Actors (2003), which incorporated the voices and sounds of the actors of the play. This version excludes those to leave only the music. The work, like the play, is trying to describe the oppression of man by the society, the representation of taboos — including sexual ones — through the show and the end of art.

[ix-14]


Hamlet-machine without Actors was realized in 2014 at the composer’s studio in Montréal (Québec) and premiered on October 28, 2015 during a solo concert at PACE Studio 1 of De Montfort University (Leicester, UK).


Premiere

  • October 28, 2015, Robert Normandeau, Studio 1 — PACE Building — De Montfort University, Leicester (England, UK)

Baobabs

Robert Normandeau

  • Year of composition: 2012-13
  • Duration: 15:32
  • Instrumentation: 4 voices, 6 percussions and fixed medium
  • Commission: Sixtrum, with support from the CCA

Stereo

ISRC CAD501410026

  • 44,1 kHz, 16 bits
  • 48 kHz, 24 bits

Adaptation of the acousmatic piece Le renard et la rose (1995), third piece of a cycle started in 1991 based on the exclusive use of the voice. Especially the onomatopoeia considered only in cases where human language sound corresponds directly to the object, gesture or feeling designated and not its abstract representation.

It consists of five movements: Babbling and rhythm, Nostalgia and timbre, Anger and dynamic, Lassitude and space, and Serenity and texture.

One will also find a little hidden, themes composed for the work Le petit prince (The Little Prince) in 1994 for Radio-Canada: the King, the Businessman, the Vain, the Flight of Birds, the Well of the desert, the Little Flower, the Rose, the Baobabs, the Lamplighter, the Merchant of water pills, the Fox and the Geographer.

[xi-13]


Baobabs was realized in 2012 at The Banff Centre for the Arts with support from the Conseil des arts et des lettres du Québec (CALQ) and premiered on May 15, 2013 by Stéphanie Lessard, soprano; Marie-Annick Béliveau, alto; Michiel Schrey, tenor; Pierre Étienne Bergeron, bass; Sixtrum (João Catalão, Julien Compagne, Julien Grégoire, Philip Hornsey, Kristie Ibrahim, Fabrice Marandola), percussion, during the concert Des puces et des drums in the MultiMedia Room of McGill University in Montréal. The piece was commissioned by Sixtrum with support from the Canada Council for the Arts (CCA). Thanks to Odile Magan, Fabrice Marandola to the original impulse, Greg Samek for his advice, Patrick Saint-Denis for his help to make transparent the technical and especially Luc Simard who has transformed my rantings in readable score. Baobabs was awarded First Prize (mixed music) in the Musica Nova 2013 International Competition of Electroacoustic Music (Prague, Czech Republic).


Premiere


Awards


About this recording

The present recording was realized by Denis Martin on May 16, 2013 during the repeat performance of the premiere concert; the mix was finalized by the composer in September 2014.

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