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| David Morneau | |
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David Morneau does not compose his music with a ‘poetic power’ that emphatically discharges from his work enchanting you in a hallucinogenic state of borderline exaltation. He does not intensely attempt to infuse symbolism into his work and shows no melodic motivation whatsoever. This would not be David. So you ask, ‘Well, then what does this so-called proclaimed musical talent propose to do?’ | |
| David began playing the trombone when he was nine because it was shiny and had a slide. His excitement with the instrument grew when he realized he could literally spit out of the shiny bell and it was actually an acceptable action. Once he became quite good at the musical part of the trombone, he then realized his performance ability to charm and alarm all at once. He became elated at the idea of bringing something offbeat to the stage just to see how people would react. This would involve a lot more than just a trombone…you would need many more instruments! Jugglers! Dancers! Computers! And you can’t just find something offbeat and alarming like that on a shelf somewhere—that would mean someone else had already done it. It would be old news—expected and redundant. You find it in the produced works of David Morneau himself. (Where he found it remains a mystery to most.) | |
| Just to clarify, David is not a trombone performer. He is a composer of an entirely undecided genre. Some of his many eclectic works include Collage no.1 (Hungarian) for the OSU Symphony Orchestra, Lifedance (Fragments of Figments) for dancer Amiti Perry, The Sincerest Form of Flattery for marimbist Brenton Dunnington, Triage: Part 1 for dancer Ashley A. Friend, and Cut & Paste, Part 1, a series of music videos from appropriated media. His latest projects involve a vintage Nintendo Game Boy and the spirit of Terry Riley. These nuggets of 8-bit excitement will premiere in September at the 2006 Ohio State/Port Clinton Performing Arts Festival and then in November as part of Abandoned Revolution—Boris Willis' ambitious new dance work. David is also conducting research for a series of visual-music pieces he plans to create next year. | |
| Currently David is pursuing his Doctorate of Musical Arts degree at The Ohio State University under the supervision of Marc Ainger, Donald Harris, Jan Radzynski and Gregory Proctor. He received his Masters of Music in composition at Western Michigan University, under the direction of Richard Adams, Curtis Curtis-Smith and Robert Ricci, and his Bachelor of Music at Cornerstone University. His honors include 2006 Composer-In-Residence with the OSU Symphony Orchestra, 2004 Ruth Friscoe Prize in Composition for The Rhythm Variations, The Marilyn and Donald Harris Scholarship from OSU, and a Local Composer Series Grant from the Urban Institute for Contemporary Arts in Grand Rapids, Michigan. | |
| You could say he’s crazy but credentialed, or credentially-crazed. Do not think of him as yet another one of those ‘unique composers’ but rather a provider of exclusive unprecedented experiments. He carries his charm and alarm, the glamour to make standards stammer, the appeal of the unreal. Ladies and Gentleman, I give you Mr. David Morneau…also available at http://5of4.com. | |
| catalog of works
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