Peace Piece - 17:08:21, 8.39 PM

The Voice of Hades, from Orpheus

Music - Evan J Lawson
Forest Collective, featuring Ryan Williams on Contrabass Recorder and Erica Tucceri on Bass Flute.

Commissioned & premiered by Forest Collective, co-commissioned by Density512

evanjlawson.com/orpheus

The Voice of Hades from Orpheus (2019) performed by Forest Collective (live)

HEYA! Wow what an night! 
I'm so honored and proud to be apart of URGE's 25yr anniversary. 
This anniversary also marks 25 years of djing so it was amazing to celebrate our combined years of production and love for the scene in one night. 
Hope you enjoy the tunes folks but if you don't "Bye Felica!"
Muah!

Live @ URGE 25yr Anniversary

Live @ URGE 25yr. Anniversary

Part2-Live@ URGEblack-Wellington

Part1 - Live @ URGE Black - Wellington, NZ

Live @ URGE 26th Anniversary

Live @ URGE Turns 26 & Alan's leaving Party

Live @ URGE - GRUNT

EW Live At GRUNT 2024

Plus qu'un ensemble...

L'ECM+, dirigé par Véronique Lacroix, produit des événements musicaux multidisciplinaires à la pointe de l’innovation et fait connaître la création musicale canadienne à travers le pays.

www.ecm.qc.ca

Ana Sokolovic - Ciaccona(extrait)

live @ the Kitchen, MATA festival 2018, April 18

Miranda Cuckson, vln 1. 
Pauline Kim Harris, vln 2;.
Hannah Levinson, vla.
Mariel Roberts, vc.

Libro D'aprile

Luminal: A Lullaby Requiem was commissioned by Julian Burnside in 2008 for Silo String Quartet, who for this Myles Mumford recording were Aaron Barnden (Violin), Andrea Keeble (Violin), Ceridwen Davies (Viola) and Caerwen Martin (Cello).Caerwen, Silo's founder, specifically wanted me to respond to Robert Jay Lifton’s study The Nazi Doctors: Medical Killing and the Psychology of Genocide. In late 1930’s Germany, borne out of the concept of Lebensunwertes Leben (life unworthy of life), a form of institutional murder masqueraded behind a revisionist-Darwinian idea of racial purity. Luminal was a sedative repeatedly and secretively administered to children marked for the “Euthanasia” program in order to induce “continuous sleep”, coma and ultimately death, as was the practice.

I had for a long time been fascinated with the death of the Goebbels children, through sedative, then poison, at their mother’s hand. I remain intrigued by them as culturally ambivalent figures, unsure still how to read them. They cannot be fully claimed as victims of the Nazi regime since the suffering of so many others privileged their entire life, nor, as children, can one view them as culpable. They are stuck then, as tragic interstitial cultural icons, broadly perceived as beyond memorial. With so little known of them, save for their life given, and life taken, they are in many ways an inversion of the Lebensunwertes Leben principle: Life it seems, to their parents Magda and Joseph, was unworthy of them. There are some clear nods to the Second Viennese School (so loathed by Hitler) in the musical language of Luminal.  I felt it important to give the work an aesthetic historiography, as if the Webern Bagatelles, or Verklärte Nacht were playing on gramophone in the other room, while the sedated, wandering mind tries to break through to some point of conscious resistance. This is less of a programmatic instruction, merely a point of reference. 

Part Medea, part Kindertotenlieder, Luminal is loosely conceived as a lullaby requiem for Helga, Hildegard, Helmut, Holdine, Hedwig and Heidrun and naturally all the other children whose lives were mangled or extinguished by the broader parent – the State – not just then and there, but still and sadly, here.  Knowing the extraordinary humanitarian work Julian Burnside QC continues to do, let alone the fact that this composition exists purely because of his commission, the work is appropriately inscribed and dedicated to him with deep gratitude.


Luminal: A Lullaby Requiem (2008)

This is a progress render of "Song of Vows", this version has 11 voices in it.

In the previous version I was playing with a few sound effects and a bit of phasing in and out of voice types.... however in this version I've decided to cut the effects and phasing, and just have the voices as they are.

A part of me loves the wild and "natural" aspect of just leaving the voices to sing on their own (with a little bit of manipulation here and there to avoid mic distortion).... adding too much polish to this rendition of the project would be somehow inauthentic to its purpose I think.

210214 11-voice song Of Vows

David Chisholm is internationally recognized as a composer defined by diverse and hybrid collaboration and a curator and producer of vision and courage. He was composer in residence for Philip Adams’ BalletLab and an Associate Artist for Malthouse Theatre, before becoming the founder and director of the highly acclaimed Bendigo International Festival of Exploratory Music and its roster ensemble Argonaut. David has been an artist in residencee at HIAP in Helsinki, EMPAC in New York, Centre Intermondes in La Rochelle and Camargo Foundation in Cassis. He was the first Australian composer to be a featured guest of the Encuentro Internacional de Compositores in Santiago, Chile. David was an inaugural recipient of the Victorian Government’s Creator Grants. He holds a PhD from University of Melbourne and is currently Urumatua o te whare o ngā pukōrero pūoro|Head of the School of Music at Waipapa Taumata Rau|University of Auckland, Aotearoa|New Zealand.  A member of SOUNZ and the Australian Music Centre, David is published by Babel Scores, Paris.

Luminal: A Lullaby Requiem (2008)

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