

Eucalyptus: Genetic Dances was written for the Sydney Conservatorium's 2014 Chamber Music series but was premiered in the 2015 Chamber Music series on the 30th of July 2015.

Dedicated to my little sister Vanessa on completion on her honours in Genetics, Eucalyptus is based on on her thesis - in particular the Eucalyptus genes she sequenced for her work. The DNA strands were converted into the melodic material for these four dances.

These excerpts are recorded live from the premiere.

Performed by:
Deborah de Graaff
Nattanan Low
Peter Smith
Sue Newsome

Eucalyptus: Genetic Dance (excerpts)

Soundtrack for a documentary film of the Bundesministerium für Bildung und Forschung 2004
All sounds recorded with clarinets only.
Produced and mixed at Cl-Audiostudio, winter 2003 by Claudio Puntin

solo: Universe

Eucalyptus: Genetic Dances was written for the Sydney Conservatorium's 2014 Chamber Music series but was premiered in the 2015 Chamber Music series on the 30th of July 2015.

Dedicated to my little sister Vanessa on completion on her honours in Genetics, Eucalyptus is based on on her thesis - in particular the Eucalyptus genes she sequenced for her work. The DNA strands were converted into the melodic material for these four dances.

These excerpts are recorded live from the premiere.

Performed by:
Deborah de Graaff
Nattanan Low
Peter Smith
Sue Newsome

IV - Generation - Dubstep (excerpt)

III - Branching - Minuet And Trio (excerpt)

II - Sequences - Tango (excerpt)

I. - Double Helix - Paso Doble (excerpt)

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Performed by Harry Heart and Gordo. Written by Harry Heart.
Recorded at REC Studios by Tom Garnett and at Arthur St Studios by Harry Heart.
Mixed and produced by Vincent Nydam and Harry Heart.
Mastered by Andrew Edgson at Studios 301.

Epiphany

'The Fine Art of Conversation' (2015) for string quartet performed by the Huon Quartet.

More info and sheet music at: https://angusdavison.com/

'The Fine Art Of Conversation' for string quartet (2015)

POWERFUL WOM*N, 2017! A new song cycle in three movements. Music by me, text by Mary Eliza Fullerton (Australia, 1868–1946), Lesbia Harford (Australia, 1891-1927), and Elinor Morton Wylie (USA, 1885-1928). 

This sneak peek contains excerpts from each movement. Performed live (brilliantly) by Cassandra Humble, soprano, and Andrew Georg, piano. Thank you! 

Program notes by Cassandra: "Rachel and I share a strong interest in equality, feminism and in observing how we fit into this world. The stories we chose to tell through this cycle reflect the journeys of Australian women through life - whether that journey starts as a little girl in rags singing on a door step or as a socialite disconnected from the world. The power of a story loved well and the magic that comes with the retelling is such that the injustices and struggles in the world can be forgotten for a while, and just being present can be enough."

SNEAK PEEK! Excerpts from song cycle "Powerful Wom*n"

When We Speak (2016) by Lisa Cheney (Australia, 1987)
for cello and electroacoustic track
Commissioned by the VIPA Festival for Ensemble Interface
Premiered June 30, 2017 in Valencia, Spain
Recording Engineer/Mixed by Jason Thorpe Buchanan

Ensemble Interface
Christophe Mathias, violoncello

PROGRAM NOTES & BIO:
When We Speak for solo cello and electroacoustic track seeks to comment on broader issues surrounding gender inequality and these considerations on my compositional practice. Throughout the work the interweaving of many ‘voices’ is present in: my own musical language, the music and speech of respected Finnish composer, Kaija Saariaho, the expression of the live cellist and their own literal voice.  This, at times semi-improvised cello part, weaves its way through an atmospheric soundscape challenging and questioning the role of the live musician to blend in, fight against or rise above the sound world. The accompanying recorded musical sounds are extracted from Saariaho’s own compositions, with special weight placed upon manipulated excerpts from Saariaho’s own solo cello work Sept Papillons.

Lisa Cheney is based in Melbourne. Her music communicates through varied styles which often explore notions of connection and authenticity through fascinations with the ‘edge’ of beauty; expression, poeticism, fragility, delicacy, resonant space, pacing, light and dark and atmospheric soundscapes. Cheney’s work has been described as ‘atmospheres of unfathomable spaciousness’ (Partial Durations), ‘melodic slivers with plaintive intensity’ (The Australian) and ‘fantastic and frightening in its detail and colour’ (Resonate). Her body of work incorporates orchestra, chamber, voice, acousmatic collaborations and works for theatre and ballet. Her music has been commissioned and performed by The Southern Cross Soloists, The Australian Voices, the Queensland Conservatorium Symphony Orchestra, Plexus, Syzygy Ensemble, Sydney Antiphony, Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra and the Australian Ballet amongst others. She is a Director and Curator of Making Waves: an online listening/podcast space dedicated to Australian composition and is currently completing her PhD in Music at the Melbourne Conservatorium of Music (MCM), supervised by Elliott Gyger.

When We Speak (2016) by Lisa Cheney - Ensemble Interface

@2017 
for solo double bass

Written for Will Hansen (SPIRAL) 
Premiered March 2017 @ the Red Rattler, Marrickville

Dark Matter to me is the indescribable. No arrays are the same; each with their own flickers and flecks. I wanted to capture out of the double bass the unexpected. The sound worlds I’m exploring come from the bass’ natural resonance, yet in these sounds lie so much intricacy, each microsection so intrinsically ornate and rich.

Dark Matter

Original orchestral work by Lisa Cheney that includes an orchestration of the Russian folk song Along the Peterskaya performed by the Tasmanian Symphony Orchestra. Conducted by Elena Schwarz.

Audio recorded by Toby Frost and Veronika Vincze of ABC Classic FM.

I. - Double Helix - Paso Doble (excerpt)

Cameron Lam - Composer

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