Solo Instrument

Evolving Waves (November 2019)

Schubert - Piano Sonata In A Major, D. 959 Second Movement (Andantino) - Alfred Brendel (1)

Cellist: Gemma Tomlinson.
Composer: Lisa Cheney.
This is the live, world premiere recording of 'When We Speak' for solo cello and electroacoustic track. The work was premiered at the This Will Be Our Reply concert, International Women's Day concert at the Melbourne Conservatorium of Music, Melba Hall on 7/03/2016.

PROGRAM NOTES:
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 her own literal voice.  The, at times semi-improvised cello part, weaves its way through an atmospheric soundscape derived from a recent public interview with Saariaho. The accompanying recorded musical sounds are extracted from Saariaho’s own compositions, with special weight placed upon manipulated excerpts from Gemma Tomlinson’s own performance of Sept Papillons. 

When We Speak (solo cello + electroacoustic track)

On February 5th 2017 Erased Tapes open the doors to their new East London home, marking the 10th anniversary by introducing their fans and the public to the new Erased Tapes Sound Gallery. Coinciding with the launch of a new website where fans can also download a new gratis compilation, the label will be celebrating with many festival showcases and other events to be revealed throughout the year.  

Initially founded by German-born Robert Raths in 2007, the London-based label has grown and extended across the world with satellite offices in Los Angeles and Berlin. Spanning over ten years, Erased Tapes has nurtured avant-garde artists from all around the world whilst remaining genre-defying and truly independent.

"Ten years of one of the most important record labels of the last few years" – Gilles Peterson

“The heart-string-tugging London label that floats gently between 20th century composition
and ambient music.” – Rolling Stone

Commencing these celebrations with a free compilation entitled Erased Tapes Collection VIII, they also welcome the iconic Penguin Cafe to the roster amongst tracks from new signing Daniel Brandt (of Brandt Brauer Frick) and Peter Broderick’s duo project Allred & Broderick. It also includes recent compositions by Rival Consoles, A Winged Victory For The Sullen, Ben Lukas Boysen, Douglas Dare and Immix Ensemble & Vessel, as well as a previously unreleased Ryan Davis remix of Erased Tapes stalwarts Ólafur Arnalds & Nils Frahm which was recently favoured by Aphex Twin and an exclusive edit of Woodkid & Nils Frahm’s score for JR’s Ellis, with spoken words by Robert De Niro.

“I simply want to tell a story, whether that’s by compiling this annual collection of songs that connects the dots between all these works of music we had the honour of releasing over the years, or curating a label in general. It helps me reminisce and revisit the moments that brought us all closer together, that make us human. With each year the picture becomes clearer and the message less reliant on words. I hope that this music helps the listener as much as it helps me to keep imagining, keep focusing, keep awake in a time when silence and peace is so hard to come by. May our new space provide a haven, reflecting these values we share and allowing people to find a moment to slow down in this fast-paced world we live in.” – Robert Raths

As the first of many label-curated festival stages, this year’s Sea Change Festival in Devon, England, will see performances by Japanese vibraphonist Masayoshi Fujita and London-based singer-songwriter Douglas Dare.

Download 'Erased Tapes Collection VIII' for free from our new website www.erasedtapes.com 

Visit the Erased Tapes Sound Gallery at 174 Victoria Park Road, London E9 (opens to the public on Saturday February 11, 2017)

Woodkid & Nils Frahm - Winter Morning II (with Robert De Niro) [Excerpt]

Pre-order 'Everything' on LP/CD, or buy now digitally here: http://phonofile.link/blb-everything

**The physical LP and CD only contain the carefully compiled 10 tracks by label founder Robert Raths, but will come with a download code to retrieve all 43 tracks digitally. **

Enter the all-encompassing universe of Everything, a score by Ben Lukas Boysen and Sebastian Plano – available worldwide via Erased Tapes on July 28th 2017.

Game creator David OReilly has built an interactive world for you to explore at your choosing. Whether you decide to take the role of a microbe inside a plant in the desert, or a star in the furthermost galaxy, each layer of the game is coated with ambience which takes the simulation even further into the limitless boundaries of each world. Composers Ben Lukas Boysen and Sebastian Plano have shaped this experience with their intricate 4-hour soundscape, alongside the continuous narration by philosopher Alan Watts. 

Though the score has an important part to play in heightening the atmosphere of the game, it has the capability of being a standalone album – carefully sequenced down to a 10-track selection by label founder Robert Raths. There is a considerably therapeutic quality about it, allowing the audience to transcend into a meditative state, which is what makes it a perfect partner for Everything. The music is a whole world of its own, yet part of the game’s universe.

Words from Ben and Sebastian, April 2017:
 
“Composing something quite modular yet coherent that connects with the idea and fabric of the game was quite a task. We discussed many approaches, from really mathematical and direct, to abstract and philosophical, and we ended up with a mixture of both. Every element depends and builds on another and connects to previous and following songs. May it be on a compositional or on an abstract and conceptual level, the game and the music follow the same path and shares almost the same inspirational DNA.“ — Ben Lukas Boysen

"Working on the soundtrack has been a truly inspiring collaboration. What fascinates me about the game is the self-exploratory approach it allows the player to experience; there is no purpose other than just being. This concept gave us wonderful freedom in searching for sounds and ideas that would fit the game. Throughout the score there is a subtle level of drama which gives depth to the game, yet the music never becomes predominant taking the player away from the main experience of being anything. Honest, simple and beautiful, Everything has been a rewarding creative journey to contribute to." — Sebastian Plano

The cover image features multiple components of the Everything universe, meticulously pieced together by David OReilly himself, in collaboration with designer Torsten Posselt at FELD.

“Creating the score for Everything was a colossal undertaking. Its scope is as wide as the game itself. The music encompasses a vast range of sound and texture, held together by the immense skill and talent of Ben Lukas Boysen & Sebastian Plano. Together they created an extraordinary library of music which gives this game great dignity and depth, and elevate the experience beyond what I could have imagined.” — David OReilly

Track listing:

1. Opening		
2. We're Here
3. Winding And Unwinding
4. Eisenach
5. An Infinite Day
6. Opening Light
7. Aalystice
8. Inside Air
9. After Our Efforts
10. Reaching Light

Watch the game trailer here: https://www.youtube.com/watch?v=JYHp8LwBUzo

Ben Lukas Boysen & Sebastian Plano - Winding And Unwinding

Black on White (2008) was composed for/performed by talented Concert Pianist, Philip Eames. The work is centered around the melding of the white and black keys on the piano.

This recording is of the premiere performance at the Queensland Conservatorium of Music, Griffith University: Pre-graduation Concert in late 2008.

Graphite hand sketch image by Philip Eames.

Black on White (solo piano)

Touching moment today, when checking out the acoustic in Tunnel Grić, the security guard, who was obliged to stop me , tip-toes over and silently signaled to stop recording , so as to not ruin my take, hvala puno gospodine! #undergroundmusic #zagreb #croatia #clarinet

Tunnel Gric Zagreb

Written in 2010 for inclusion in: 'A pedagogical survey of Australian bassoon repertoire' by Sophia Rhee. Specifically created for the young to intermediate Bassoon player, Jazzoon aims to add a fun cross-genre piece to the small existing pool of contemporary Bassoon repertoire.

Score and publication available through the AMC here: http://www.australianmusiccentre.com.au/product/a-pedagogical-survey-of-australian-bassoon-repertoire-for-solo-bassoon-bassoon-piano-bassoon-with-one-other-instrument

Jazzoon (solo bassoon: for the early performer)

Written in 2007 and recorded by Daniel Grindrod at a Composer's Lunchtime Concert, Qld Conservatorium of Music.

Blue Silk Drifting (solo piano)

Performed by Flinders Quartet. Concert footage filmed by 5stream; audio recorded, mixed and mastered by Ana Paula Gargantini, APGMproductions. June 22, 2019. Library at the Dock, Melbourne.

Video of performance can be found here - https://vimeo.com/345175559 

If you're interested in seeing the score, please get in touch.


PROGRAM NOTES

The String Quartet Project is the beginning of a journey that will never be completed. I will continue to add new movements to the piece indefinitely. This suite of music will grow and grow, each movement informing the next. The compositional approach of each movement is informed by the context in which it is written, and the ensemble who performs it: with each string quartet leaving their mark on the work as a whole.


I - The Slow Unfolding of the Self

These are the first marks made for the work. I wanted each note to have gravitas, hence the slow, austere mood. It is almost without pulse and utilises frequent dove-tailing. Harmonically, I've been inspired by the work of the American composer Elliott Carter.

II - Foreign Gravity

The second movement oscillates between soloist and the ensemble in a call and response-like fashion. Instructions to play freely, steady and aggressively are given. It consists of hocket-like sections, all-interval tetrachords and an absence of extended techniques.

The String Quartet Project (I) The Slow Unfolding of the Self [2019]

-Waringin-
Huge Banyan trees (Waringin/Bingin) are important landmarks in most Balinese village, often at a central crossroads.  These behemoth trees are allowed to grow untamed and often grow to nearly 50 metres.  They are highly sacred, and it is believed that both auspicious and malevolent spirits spend their time nearby these twisted, sprawling, almost grotesque trees. Like cathedrals in English towns, Banyan trees can be seen from hundreds of metres away; these age-old sentinels loom over the village.  The Balinese word "Bingin" carries a sense of strong and solid foundations, and as such these trees are a symbol of tradition. 

Composed by Oscar Smith
Dedicated to Dewa Alit and Gamelan Salukat
Performed by Gamelan Salukat
Recorded by Antida Studios at Balerung Mandera Peliatan
Mixed by Raka Bintara
Film by Ferdinand Parulian

Thanks to:
-Dewa Alit
-Aya Sukuma
-Dewa Artayasa
-Agung Oka Dalem Mandera
-University of Sydney
-Australian Cultural Fund
-Everyone who donated

Musicians/Pemain:
PEMADE 1: I Wayan Sumerta
PEMADE 2: I Dewa Gede Artayasa
PEMADE 3: I Kadek Putra Agustina
PEMADE 4: I Wayan Galung Marwanaya

KANTILAN 1: I Made Pagarat
KANTILAN 2: Dewa Gede Teja Nata
KANTILAN 3: Gusti Ngurah Trisna Adi Putra
KANTILAN 4: 

CALUNG 1: Gusti Ngurah Oka Wardana
CALUNG 2: Kadek Krisna Ripayana
JEGOG 1: I Wayan Sukadana
JEGOG 2: I Putu Okto Saputra

REONG 1: I Kadek Janurangga
REONG 2: I Putu Astianawan
REONG 3: I Wayan Wahyudika
REONG 4: I Kadek Krisna Arimbawa

SULING: I Wayan Ariadi
SULING: Made Dwi Cahya Diva
SULING: I Kadek Prima Santosa Dwi Putra

CENG-CENG: I Kadek Prima Santosa Dwi Putra
KENTUK: I Putu Raka Suantana
GONG: I Gusti Putu Alit Indrawan Mataram

Waringin

A piece on the subject of finding clarity as the immediate surrounds continue to blur. Composed for the Gildas Quartet and Lucy Humphris - written at Dartington while studying with Sir Harrison Birtwistle.

Duets

Somewhere in the Middle explores the notion of cultures and composers feeling a loss of identity and place in their own music. It leads the listener to question whether feeling a sense of identity and place in a work of music is important and whether imposing labels on music is really necessary. This work seeks to blend traditional and contemporary musical worlds and is influenced the contemporary classical music of Seoul, South Korea.

Performer: Elliot Pascoe
Recorded: 2012
Composed: 2011

Somewhere in the Middle (solo piano)

Lisa Cheney is an emerging Australian composer currently based in Melbourne. Her music has been performed by the Southern Cross Soloists, The Australian Voices, The Melbourne Symphony Orchestra, Ady Ensemble, Belladiva, Ensemble Fabrique, Syzygy and The Australian Ballet, amongst others. She studied her undergraduate and Master degrees at the Queensland Conservatorium of Music (QCGU) with Gerard Brophy and Gerardo Dirie, and has also received lessons from renowned composers William Duckworth, Philip Bracanin, Iain Grandage, Robert Aldridge and David Dzubay.

Lisa has written for a variety of mediums including orchestra, chamber ensemble, choir, ballet, theatre, film, animation and electronic tracks for live performance collaborations. Her composition accolades include being the recipient of the Glen-Carter Varney Award for Composition (2009), first places at the MTAQ Gold Coast Composer’s Competition and the ASME Young Composer’s Competition (2004-2010), the Bill Murray Encouragement Award for Composition (2009), first prize at the Keys Festival for Australian Music (2006), the Griffith University Owen Fletcher Postgraduate Award (2008), an Australia-Korea Foundation Scholarship (2011) and the Silver Harris and Jeff Peck Composition Prize (2014). She has participated in the 2010 Atlantic Music Festival (Maine, USA), the 2012 Australian Youth Orchestra National Music Camp, the 2013 Brevard Music Centre Institute (North Carolina, USA) and the 2013 Melbourne Symphony Orchestra Cybec 21ST Century Composers’ Program. Her work The Pool and the Star, written at part of the Cybec Program, was most recently selected by the MSO for performance at the Metropolis New Music Festival under the baton of Finnish maestro Olli Mustonen.

As part of her Master of Music research Lisa has written papers exploring various experiences of other early career female composers in Australia.  In late 2014 Lisa will commence a PhD in composition at the University of Melbourne with prominent Australian composers Elliott Gyger and Stuart Greenbaum.
	
 In addition to a busy writing schedule, Cheney enjoys supporting the careers of other emerging composers and artists as the founder of the Brisbane Composers’ Forum, enjoys singing as a member of The Australian Voices and through private music tuition at her home on the Gold Coast.  She is currently working on commissions for The Ady Ensemble, The Melbourne Metropolitan Sinfonietta and The Queensland Conservatorium Symphony Orchestra.

Lisa Cheney is available to consider commissions and collaborations. Orders for scores and personal contact can be made through e-mail - lisajcheney@gmail.com

Follow on Facebook @ : http://www.facebook.com/composerlisacheney
Website: www.lisacheney.com.au
Or Twitter @ComposerCheney