I am really enjoying this listening experience

View on the Audible Edge Festival website: ae.tonelist.com.au

Time and Place is an improvised flute duet recorded outdoors, simultaneously, from opposite ends of the world. With Sabine playing at 10.30am from a pond in Paretz, and Saskia from Blackwall Reach at 6.30pm, both flautists improvised in response to the environment around them, and the environment the other was situated in. Guided by graphic scores in the form of detailed photos of each location, they considered not only where they were, but the distance and binaries between them; day, night, Spring, Autumn, mentor, mentee. The result is a duet that connects the two places and players through space, time and sound.

Commissioned by Tone List with the support of RTR.FM 92.1.

Sabine Vogel & Saskia Willinge - Time and Place

But Why?! (2022) tells the story of the old lady who swallowed a fly. It is a choral requiem of sorts for the fly and other wildlife she cruelly ate. This recording is a performance by the Sydney Conservatorium of Music's Chamber Choir, recorded at the Trinity College, Melbourne in 2023.

But Why?! A requiem for the fly

Recorded at Jetsets on July 11th, 2023.

@liminalspace_duo
Peter Lavilles on Piano
Hayley Chan on Drums

Composed by Hayley Chan and Peter Lavilles

LAViATHAN - Liminal Space

Originally performer with electric guitar and pedals, this is the fixed media track

Scintilla

'Metals and Skins' (Original Composition and Improvisation) performed by Hayley Chan in the Verbrugghen Hall at the Sydney Conservatorium of Music for her 3rd Year Recital.
www.hayleychandrums.com
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Mixed by Vin Bass.
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Special thanks to my tutors, Chloe Kim, Simon Barker, Bree van Reyk, and Cameron Undy for continuing to inspire and support me in my practice at the Con.

'Metals and Skins' (Original Composition and Improvisation)

To the End is a high-energy viola and cello duet which utilises the idomatic scrubbing technique of the lower string instruments. The title is derived from the saying 'race you to the end', highlighting the almost competitive nature of the duet relationship in this work. The constant semiquaver scrubbing sets up the background for various double-stop and melodic motifs. This work was recorded by violist Alison Eom and cellist Lucy Blomfield.

To The End

hallucinations in the desert
recorded at the Sydney Conservatorium of Music in a noisy practice room
.
composed and performed by Hayley Chan (solo drums, bowed cymbals)

Blistering Sun (Demo)

more hallucinations in the desert
recorded at the Sydney Conservatorium of Music in a noisy practice room
.
composed and performed by Hayley Chan (solo drums)

Shimmering Desert (Oasis) (Demo)

That Invisible Thing is composed for double wind orchestra. The title is inspired by a line from the poem Rendezvous by Australian poet Brook Emery, which describes the mind as "that dematerialised, invisible thing". The opening of the work establishes the semitone motif which becomes a motor throughout the work, driving the piece forward. The middle section of the piece is playful and energetic with syncopated melodies over various pulse divisions. The opening material returns to end the work in a slightly more sinister tone, dying out at the conclusion and ending unresolved. 

This work was performed by the Sydney Conservatorium Symphony Orchestra in March 2024.

That Invisible Thing

Composed to celebrate what would have been the hundredth birthday of avant-garde pioneer John Cage, this work pays homage to the ideas and philosophies embodied in his music and his words. Cage was famed for integrating non-traditional instruments into his work and for coaxing unconventional sounds from traditional ones; accordingly, Lizée—herself noted for incorporating turntables and other electronic devices into the concert-music setting—here makes extensive use of various objets trouvés (including typewriters and vinyl records on portable turntables struck with mallets) as percussion instruments, regardless of their original purpose.

 The idea of “preparing” instruments, one of Cage’s most significant contributions to modern music, is reflected here in alterations made to the surfaces of vinyl records, generating new patterns and melodies by creating new paths for the stylus. Lizée has described this piece as a kind of dance party for Cage: “a re-imagining of a rave.”

This work was premiered on March 2, 2012 at the 'So Percussion' concert presented at Koerner Hall in Toronto (Canada).

For more information about Nicole Lizée and her work, please visit our SoundMakers website: http://www.SoundMakers.ca/composers/nicole-lizee


White Label Experiment by Nicole Lizée

It's time to move on.

Cover art by Uma Volkmer

time to turning

🔊🎶 a collection of experiments.

Creating on Gadigal land.

time to turning

umav

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