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Sandy Moore: Biography

Sandy Moore
1944 -
Region: Atlantic

Sandy Moore

Sandy (Victor Alexander) Moore completed his formal training at Mount Allison University, Sackville, New Brunswick, where he received a Bachelor of Arts (Music) in 1968. In his formative years as a composer he traveled extensively throughout Europe and Canada seeking contracts with theatre, dance, and film companies while actively writing and producing his own music related events. He concentrated on more personal compositions in his studies with Dr. Robert Turner at the University of Manitoba, which provided him further grounding in the theory of orchestration. From this ‘winter period’ of 1985 emerged stylistically mature new works for concert programming. Master classes with Professor Dimiter Christoff from Bulgaria in the early 1990’s and the late Ton deLowe from Amsterdam/Paris, and studies in Prague with Czech composer, Sylvie Bodorova, have continued to influence his conceptual thinking of music.

Moore ’s significant repertoire includes compositions for solo instrument and voice, small chamber ensembles and symphony orchestra. Collaborations with Symphony Nova Scotia and the Upstream Music Ensemble provided exciting and challenging performance, and compositional development opportunities for innovative fusions, often experimental and improvisational in nature. In these concerts, Moore has frequently performed on keyboards, Irish harp and accordion. His keen interest in traditional and contemporary music from other cultures has led him to seek opportunities to work with musicians and composers from Zimbabwe, Czech Republic, Slovakia, Ireland and Japan. His first international concert took place in Tokyo, 1991, with the Akikazu Nakamura Ensemble with a notable commission from Miwa Inabe for koto and Irish harp. Creative collaborations with national award winning poets, choreographers and performers, as well as internationally acclaimed musicians, have made him a versatile and inventive composer. His spontaneous, spirited and emotionally communicative style has a universal appeal. Moore often uses music as a metaphor and through every movement of every piece there resonates an authentic texture of heartfelt personal expression..

QUIET CREAKS, a recent composition written for soprano Janice Jackson for The Hailu Project recording, the critics respond: “…a setting of his own haiku in which every musical gesture expressed Moore’s exceptionally acute sense of dramatic imagery.” For the TRUDEAU CBC miniseries, the Maclean’s magazine notes: “Scene after scene is heightened by a superb soundtrack.” He won the Best Composition Award at the Atlantic Film Festival for the Triad/NFB documentary The Illuminated Life of Maud Lewis, as well as being a first time nominee in the 24 th Annual Genie Awards, 2004, for Achievement in Music – Original Score for Thom Fitzgerald’s feature film, THE WILD DOGS.

The Cello Project, a series of compositions for 14 Cellos, was sponsored by the Canadian Music Centre’s National project New Music in New Spaces, and took place on the Halifax Waterfront. Moore’s recent work with choreographer Gwen Noah on Vestige’, and ‘Descendant’, has provided him with the opportunity to produce more urban emotive music in collaboration with cellist, Noraman Adams, and violist, Susan Sayle. Notable credits for theatre include; ‘4:48 flesh’ musical director for interactive Theatre, University of Toronto, Portia White, First You Dream for Eastern Front, Petra for Theatre Direct and Ecstasy of Bed Ridden Riding Hood and Marion Bridge for GCTC. TRIP for Jest in Time, The Glass Menagerie for Prairie Theatre Exchange, and Stolen Lives for The Blyth Festival. For Neptune Theatre he has designed scores for Hamlet, Romeo and Juliet, Divinity Bash, Whale Riding Weather, Major Barbara, Memories of You, Yankee Notions, And Then There Were None and Travels With My Aunt.

Aug 2005