IMPORTANT: Please listen at a LOUD comfortable volume that makes your ear parts move a little. You should hear a lot of air shifting. (Ideally headphones or biggish bass-friendly speakers.) 


Written in close collaboration with Distractfold Ensemble, featuring: 


Rocío Bolaños - bass clarinet (w transposition pedals)
Daniel Brew - electric guitar
Linda Jankowska -  bowed kick + snare drums (drums outfitted with bridges + strings)
Christian Smith - bowed kick drum (as above)+ other percussion
Alice Purton - cello (w transposition pedals)
Sabrina Schroeder - transducers (playing bass drum, floor tom, and plywood cubes via live-manipulated sound waves through transducers).

Transducer performance interface developed with programming and design support from Josiah Oberholtzer, and from Michael Acker of the Experimentalstudio de SWR Freiburg. 

This live-performance recording was made at the 48th Internationale Ferienkurse in Darmstadt (Aug. 7th, 2016)

BONE GAMES (2016) for amplified ensemble

Performed by members of the International Contemporary Ensemble (ICE) and Ensemble Evolution at the Banff Centre for Arts & Creativity, July 2017

Vln 1: Aisslinn Nosky
Vln 2: Nelson Moneo
Vla: Kyle Armbrust
Vc: Katinka Kleijn

desolation sound (2014) for string quartet

Pourriez-vous être le couteau dans ma vie?
Could you be the knife in my life?
(2004)
Violin, Violoncello, Piano, Digital Signal Processing
Duration = 18 minutes

Laurie Radford

Gleam		Edge 		Curve		Point		Incision		Plunge

Action demands incision, a rending of skin, plunging into the flesh and mechanism beneath; a fearless touching, hearing, and seeing of that which must be known. The violin bow slices time into strips of cause and effect; the piano keys cut pitch into equal portions of dream and regret; synchronized bodies rend space for all to enter and be marked. The gleaming edge, the curve and point of these actions are the destination, the finely ground line of resistance and insistence, the source of delight and delirium as one scurries across the cusp of knowing. 
We are the instruments of others’ fears and terrors, needs and desires. In donning the role of instrument, we feel both the wound of subjugation and the pain of freedom. The rapiers of bow and string shred one reality and offer us another, plead and demand, heal and destroy, with both sound and silence.
Pourriez-vous être le couteau dans ma vie? continues a line of work begun with horizo (2002) for 16 instruments and digital processing. The instruments of the ensemble are processed in real-time by various digital effects. In addition, the instruments also serve as the source of an electroacoustic component: fragments of the instrumentalists’ performance are captured and subsequently transformed and combined with other fragments to create a virtual ensemble that revisits the live ensemble later in the work. Process and sound are unified in the actions of the performers.

Pourriez-vous être le couteau dans ma vie? (violin, violoncello, piano)

And/Or (2019) - 14 musicians and electronics - Turning Point Ensemble - live-recording

This work explores the micro-synchronicity within a pulsation to create timbral and musical situations that are:
organic and/or synthetic,
mechanical and/or lyrical,
symmetrical and/or asymmetrical,
integrated and/or separated,
on-the-beat and/or off-the-beat,



Performers: Turning Point Ensemble
Conductor: Owen Underhill
Electronics: Anthony Tan

Pourriez-vous être le couteau dans ma vie? (violin, violoncello, piano)

Laurie Radford

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