Immersive Cinema for the Ear
CIRMMT is pleased to announce that Robert Normandeau, composer and professor at Université de Montréal, will be presenting a concert of his multi-channel electroacoustic works, as well as works by Martin Marier, Régis Renouard-Laivière and Robert Sazdov on February 17, 2009 as part of the live@CIRMMT Performance Series.
Admission is free.
DATE: February 17, 2009 at 7:30pm
LOCATION: Multi-Media Room (MMR), -2 level, New Music Building, 527 Sherbrooke St. West
PROGRAM
Robert Normandeau Palindrome (2006) 14'
-Première nord-américaine/North-American Premiere
Martin Marier Piano (2007) 13'
Régis Renouard-Larivière Errance essorante (2004) 20'
-Première nord-américaine/North-American Premiere
******* interval *******
Robert Normandeau Puzzle (2003) 5'
Robert Sazdov Deva 21.09 (2007) 9'
-Première nord-américaine/North-American Premiere
Robert Normandeau Palimpseste (2005) 15'
-Première nord-américaine/North-American Premiere
ABOUT ROBERT NORMANDEAU
MMus (1988) and DMus (1992) in Composition from Université de Montréal. Founding member of the Canadian Electroacoustic Community. Founding member of Réseaux (1991), a concert society. Prize-winner of the Bourges, Fribourg, Luigi-Russolo, Musica Nova, Noroit-Léonce Petitot, Phonurgia-Nova, Stockholm and Ars Electronica (Golden Nica in 1996) international competitions. His work figures on many compact discs, including six solo discs: Lieux inouïs, Tangram, Figures, Clair de terre and the DVD Puzzles, published by empreintes DIGITALes, and Sonars published by Rephlex (England). He was awarded two Opus Prizes from the Conseil québécois de la musique in 1999: “Composer of the Year” and “Record of the Year in Contemporary Music” (Figures on empreintes DIGITALes label). He was awarded the Masque 2001 for Malina and the Masque 2005 for La cloche de verre, the best music composed for the theatre, given by the Académie québécoise du théâtre. He has been Professor in Electroacoustics Composition at the Université de Montréal since 1999.
Having produced several instrumental and mixed works, his current endeavors are focused on acousmatic music. More specifically, his compositions employ æsthetic criteria whereby he creates a ”cinema for the ear” in which “meaning” as well as “sound” become elements which elaborate his works. Along with concert music he now writes incidental music, especially for the theatre.