Showing posts with label nicole lizée. Show all posts
Showing posts with label nicole lizée. Show all posts

Thursday, July 24, 2014

Recording: Music in the Barns

Artist: Music in the Barns

Song: Schoolhouse Étude [from Hitchcock Études – composer Nicole Lizée]

Recorded at Jam Factory, July 13, 2014.

Music in the Barns - Schoolhouse Étude

Full review to follow. If there were a "star system" for composers in this country, Nicole Lizée would probably be a household name by how. Combining compositional chops, a forward-thinking approach to new ways of making music and a pop-culture referencing ability to tap into the zeitgeist, her works are "serious music" that are still easily accessible outside the cloisters of the "new music" community.

Her Hitchcock Études were originally composed for "piano, glitch and film", and are here essayed by the Music in the Barns ensemble, in a string quartet plus vibes formation. The music feeds off the manipulations of the source material, enfolding little lurches and hiccups in a tribute to the composer's memories of rewatching Hitchcock movies on slowly-wearing-out videotapes. [The original piano version is embedded below for comparison, and should serve to show how the visual element works here. You can check out a couple more clips on her videos page.]

Sunday, April 27, 2014

Recording: The GGS New Music Ensemble

Artist: The GGS New Music Ensemble

Songs: Behind the Sound of Music [edited fragments] (composer: Nicole Lizée) + 3 Movements for Chamber Orchestra [2nd movement] (composer: Scott Good)

Recorded at the Conservatory Theatre, April 10, 2014.

The GGS New Music Ensemble - Behind the Sound of Music [edited fragments]

The GGS New Music Ensemble - 3 Movements for Chamber Orchestra [2nd mvt]

As I've said before, Brian Current is leading the New Music Ensemble at the Royal Conservatory's Glenn Gould School down some very interesting roads. The chance to present the World Premiere of this new Nicole Lizée piece was used as a springboard to present a couple other pieces that were based in sound and vision, including Martin Matalon's Les siete vidas se un gato (a new score to Buñuel's Un Chien Andalou) and Louis Andriessen's The New Math(s) (a soundtrack to an arthouse kung-fu slapstick flick). But it was Lizée's work that captivated the most.

Following on her Hitchcock Etudes, Behind the Sound of Music applies glitchy cut-and-paste techniques to the beloved musical to create a slightly hallucinatory trip. Known for playing off pop culture tropes, this piece could be a true crossover hit — someone just needs to get it in front of the cult film/midnite movie/420 crowd.

With the composer on hand to conduct, the night also saw a performance of Scott Good's piece, which had been commissioned by the Glenn Gould School. Starting from a strictly defined set of musical tools, the piece aims to employ those ingredients in different ways — ranging here from lithe and melodic to dirge-y drones. A work in progress, there are more movements yet to be added.

Tuesday, February 26, 2013

Preview/Contest: New Creations Festival

New Creations Festival

Arcadiac, Saturday March 2, 2013; Sparkler, Thursday, March 7, 2013; A Toronto Symphony, Saturday, March 9, 2013

The Toronto Symphony Orchestra's New Creations Festival is the city's largest New Music spectacle — a chance to see some innovative musical ideas tackled by a full-sized ensemble in the grand canvas that is Roy Thomson Hall. More than celebrating a particular compositional school, this year's edition is a full-on embrace of technology.

That's largely because this year's special guest and featured composer is Tod Machover, Professor of Music and Media at MIT, whose work encompasses both traditional composition and technological innovation. He's spent decades thinking about performance and interactivity — his "hyperinstruments" paved the way for the Guitar Hero video games.

The first two concerts in the festival will feature some of his shorter works, but the most-anticipated is undoubtedly the première (on March 9th) of his newly-commissioned A Toronto Symphony, subtitled as a "Concerto for Composer and City". Part of the anticipation comes from the fact that no one's sure how this is going to hash out, given Machover's rather unique crowdsourcing methods, where "collaboration took place by blog and e-mail, via Skype and smartphone, using audio and video recording and streaming."

(In fact, I'll note tangentially, we can only hope that the contribution by Maylee Todd, recorded at last summer's ALL CAPS festival, made the cut in some manner. I can attest that it was sent to the right people!)

Listen! Maylee Todd - Hit Me 53 Times

Meanwhile, the first concert also heralds the return of Mason Bates, whose electronica-tinged compositions graced new Creations a couple years ago, but the most exciting selection comes from Nicole Lizée, whose "Arcadiac" provides the night's title. Lizée has arranged for and played with The Besnard Lakes, and her own work includes some material that you might file on the same shelf as your Sea and Cake records — she can also sometimes be found playing the turntable parts in performances of her own compositions. Here, however, the TSO will be playing her piece written for "orchestra and 1970s/1980s arcade games" — the outcome truly warms my 8-bit heart. (Check it out here).

Sparkler, the festival's second concert on Thursday, March 7, contains less technological wonderment — and is probably going the most-anticipated for most of this blog's readers, as it features the première of Owen Pallett's Violin Concerto. Well-known for his solo work — as Final Fantasy as well as under his own name — with his classical training Pallett has long been a go-to guy for indie rockers looking for string arrangements, and it will surely be a thrill to see him painting with an orchestra-sized canvas. Although the violin will be handled here by Pekka Kuusisto, I have no doubt that the author's voice will shine through — the fact that Pallett has indicated that the piece is inspired by H.P. Lovecraft's "The Colour Out of Space" implies it should fit right into the rest of his oeuvre.

Also on the bill that night is Kryštof Mařatka's Vábení. Mařatka doesn't seem to have much of a social media presence, and most of the material about him seems to be in Czech, but given this piece attempts to synthesize "sonorities of the musical instruments of the Paleolithic age [and] the birth of human language and of the earliest vocal expressions", I guess that's a bit beside the point. That this requires two separate choirs implies that this is going to be something of a spectacle.

TICKETS + MORE INFO

The New Creations website has all you need to know about the festival, including program notes on all the pieces. The TSO remains committed to making these events more affordable than the typical night at the symphony, so you can grab $20 tickets for all of the shows here. (promo code = "NEW") — or those 35 or under can get an even sweeter 2-for-1 deal (2 tickets for $14) until tomorrow afternoon (March 27th at 5 p.m.) through the tsoundcheck program.

CONTEST

Or... you could go for free! Thanks to the good people at the TSO, I am giving away a pair of tickets to Sparkler, featuring Owen Pallett's Violin Concerto. [Roy Thomson Hall, Thursday, March 7 at 8:00PM ]

To enter, shoot me an email to mechanicalforestsound@gmail.com, with "new creations" in the title and your name in the body. I'll randomly draw a winner on Tuesday, March 5th.