1,721,161 research outputs found
Works by Eliane Radigue for Cat Hope
No full text<p dir="ltr">This is a collection of materials around the commissioning, development and performance of works by Elianè Radigue, established by composers/flute/bassist Cat Hope.</p><p dir="ltr">It includes</p><p dir="ltr">OCCAM XVI a performance of a piece for bass flute and alto flute by Eliane Radigue The work was written in 2017, commissioned for flutist Cat Hope by Carriageworks and Room 40, and premiered at Carriageworks as part of the Open Frame Festival in 2018.</p><p dir="ltr">It will be performed at Ayers House, 288 North Terrace, Adelaide, in March 2019.</p>
Works by Eliane Radigue for Cat Hope
No full textThis is a collection of materials around the commissioning, development and performance of works by Elianè Radigue, established by composers/flute/bassist Cat Hope.It includesOCCAM XVI a performance of a piece for bass flute and alto flute by Eliane Radigue The work was written in 2017, commissioned for flutist Cat Hope by Carriageworks and Room 40, and premiered at Carriageworks as part of the Open Frame Festival in 2018.It will be performed at Ayers House, 288 North Terrace, Adelaide, in March 2019.</p
music for the film Cetaphobia
No full text<p>Music composed by Cat Hope, performed by Decibel, for the film <strong>Cetaphobia</strong> 2015 by Erin Coates and Anna Nazzari, <br>HD video with sound, 12 mins</p><p>Set in the coastal town of Albany, <em>Cetaphobia</em> is a ghost story that traces the haunting of a married couple trouble by a whale spirit. The ambiguous spirit is an unsettling remnant of the port city's once viable whaling industry. Its presence is awakened after the wife, who is a scrimshander, starts inscribing on the only remaining evidence of its life: a tooth. This action unleashes a dark and cetaceous force, which possesses the scrimshander and her husband. They are drawn back to the site of the Cheynes II, the sunken wreck of the whale chaser, where they are eventually overcome by an unknowable horror.</p><p><em>Cetaphobia </em>was made during an International Art Space residency in Albany, WA, and was first shown in <em>Spaced 2: Future Recall </em>at the Museum of Western Australia, as a part of the 2015 Perth International Arts Festival. This project was supported by the Department of Culture and the Arts, Government of Western Australia.</p><p><strong>D</strong><strong>irector and Producer: </strong>Erin Coates and Anna Nazzari<br><strong>Cast</strong>: Scrimshander – Bec Johnson, Scrimshander’s husband – Steve Pratt<br><strong>Crew</strong>: Gaffer – Dion Borrett, Land and underwater best boy – Mark Strickland, Special effects – Michelle Becker, Aerial camera rig pilot – Captain Jon Marsh, Underwater location manager – John Coates, Underwater camera operator – Matt Hawksworth, Assistant diver – Troy Dwyer, Catering – Caroline Coates<br><strong>Post Production:</strong> Editors – Erin Coates and Anna Nazzari, Colourist – Sohan Ariel Hayes, Post production special effects – Juan Zubiaga, Sound design – Roly Skender, Narrator and archival film footage – Carmelo Musca,Composer – Cat Hope, Viola – Aaron Wyatt, Cello – Tristen Parr, Double bass – Libby Browning, Music recording – Stuart James</p>
Sogno 102
No full textfor bass flute, bass clarinet, cello, viola, piano and electronics.<br>Premiere: <em>Inner Space Program, Decibel new music ensemble, Palermo, December 8 2013</em>. <br>Australasian Computer Music Conference, Melbourne, July 2014<br>International Computer Music Conference, Athens, Greece, August 2014.<br>Inner Space - The Giacinto Scelsi Project, Melbourne, November 2014, Perth, May 2015<br><br>Featured on Cat Hope 'Ephemeral Rivers' CD, <a href="http://www.hathut.com/upcoming" target="_blank">Hat[now]ART 200</a><br><br>This work is dedicated to Giacinto Scelsi, and is a reflection on the book, Sogno 101. This book is made up of transcriptions of Scelsi's audio recordings. This piece reflects this method by sampling the live instruments, playing them back in a tape like score. The piece also uses many playing techniques similar to those used by Scelsi. Contact the composer for the computer program, or make your own that samples the instruments at the points shown, as sine tones.<br><br>"<em>...the listener was drawn into a magical sonic world of considerable expressive depth.</em>" <a href="http://www.limelightmagazine.com.au/live-reviews/review-giacinto-scelsi-project-decibel#sthash.QJViJ7Rn.dpuf" target="_blank">Lisa MacKinney, Limelight Magazine.</a><br><br><br>
Cruel and Usual
No full textCruel and Usual is a work inspired by an article by the Al Jazeera news service that discusses the use of solitary confinement in US prisons as incarceration rates explode in the USA. In some cases, prisoners have remained in solitary for over 38 years, or may even be children, and the reasons for going in there are not always clear or legitimate. This kind of confinement is known as ‘no touch torture’ by some.<br>In this work the string players are sampled at certain small moments of the piece, and ‘translated’ into much lower ranges instantaneously, which fade out or grow, and are sometimes ‘distorted’. The use of drone – long notes that change very little - acts as a descriptive metaphor for the lives of these that may find themselves in these situations. It was commissioned by the Atticus Quartet.<br><br><strong>Performances:</strong><br>Sept 2011: Northcote Uniting Church, Melbourne, Atticus Quartet.<br>May 2012: Art House, Melbourne, as part of 'Metapraxis', Atticus Quartet.<br><br><strong>Review</strong><br><em>"of the five works on the program, “Cruel and Usual” by WA composer Cat Hope was the most successful. Inspired by an article in Al Jazzera News that described the use of extended solitary confinements of adults and minors in US prisons (a practice also known as ‘no touch torture’) the piece has a string quartet each facing straight forward, in a representation of isolation, across the front of a stage. Behind them a computer is operated, sampling and distorting the glissandi of the strings through four bass amps into a growing bass drone. As the background noise and the glissandi drop in pitch so do the lights, achieving an emotionally engaging theatrical and musical synthesis. “Cruel and Usual” shows that “new music” can be both accessible and relevant." <a href="http://aussietheatre.com.au/author/josephine-giles/">Josephine.Giles</a>, Aussie Theatre.</em><br><br>To perform this work, you can download the video below and use that as the score, or download the iPad app, the <a href="https://itunes.apple.com/us/app/decibel-scoreplayer/id622591851?mt=8" target="_blank">Decibel ScorePlayer</a> which has many more features such as the ability to network multiple iPads (one foe each member in the ensemble if desired), change the speed, move around for rehearsal etc
Miss Fortune X
No full text<h2><sub>Performances<br>Decibel, September 2012, WA State Museum (premiere)<br>Decibel, December 2012, TedX, Perth, Octagon Theatre<br>Featured on Cat Hope 'Ephemeral Rivers' CD, <a href="http://www.hathut.com/upcoming" target="_blank">Hat[now]ART 200</a></sub></h2><div><br></div><div>Miss Fortune X is the name of a radio controlled model airplane my father built and flew several iterations of throughout his lifetime. The work uses segments of the base plan as a guide for the construction of the score, and in more detail, the piano part, where an e-bow and roughened plectrums are used to alter the timbre of the instrument. The original plan, from a magazine, had been copied and resized many times over many years, creating a layer of visual noise in later copies which is also included as musical material for the work. The piece continues my explorations of drone and glissandi, and the sonic colour of radio static, which carries a new metaphorical meaning in this work. It is dedicated to Douglas Campbell Hope (1937 – 2012).<br><br><br>A digital or hard copy of the score is available from <a href="http://materialpress.com/start.htm" target="_blank">Material Press.</a> <br></div>
Sogno 102
No full textfor bass flute, bass clarinet, cello, viola, piano and electronics.<br>Premiere: <em>Inner Space Program, Decibel new music ensemble, Palermo, December 8 2013</em>. <br>Australasian Computer Music Conference, Melbourne, July 2014<br>International Computer Music Conference, Athens, Greece, August 2014.<br>Inner Space - The Giacinto Scelsi Project, Melbourne, November 2014, Perth, May 2015<br><br>Featured on Cat Hope 'Ephemeral Rivers' CD, <a href="http://www.hathut.com/upcoming" target="_blank">Hat[now]ART 200</a><br><br>This work is dedicated to Giacinto Scelsi, and is a reflection on the book, Sogno 101. This book is made up of transcriptions of Scelsi's audio recordings. This piece reflects this method by sampling the live instruments, playing them back in a tape like score. The piece also uses many playing techniques similar to those used by Scelsi. Contact the composer for the computer program, or make your own that samples the instruments at the points shown, as sine tones.<br><br>"<em>...the listener was drawn into a magical sonic world of considerable expressive depth.</em>" <a href="http://www.limelightmagazine.com.au/live-reviews/review-giacinto-scelsi-project-decibel#sthash.QJViJ7Rn.dpuf" target="_blank">Lisa MacKinney, Limelight Magazine.</a><br><br><br>
Cruel and Usual
No full textCruel and Usual is a work inspired by an article by the Al Jazeera news service that discusses the use of solitary confinement in US prisons as incarceration rates explode in the USA. In some cases, prisoners have remained in solitary for over 38 years, or may even be children, and the reasons for going in there are not always clear or legitimate. This kind of confinement is known as ‘no touch torture’ by some.<br>In this work the string players are sampled at certain small moments of the piece, and ‘translated’ into much lower ranges instantaneously, which fade out or grow, and are sometimes ‘distorted’. The use of drone – long notes that change very little - acts as a descriptive metaphor for the lives of these that may find themselves in these situations. It was commissioned by the Atticus Quartet.<br><br><strong>Performances:</strong><br>Sept 2011: Northcote Uniting Church, Melbourne, Atticus Quartet.<br>May 2012: Art House, Melbourne, as part of 'Metapraxis', Atticus Quartet.<br><br><strong>Review</strong><br><em>"of the five works on the program, “Cruel and Usual” by WA composer Cat Hope was the most successful. Inspired by an article in Al Jazzera News that described the use of extended solitary confinements of adults and minors in US prisons (a practice also known as ‘no touch torture’) the piece has a string quartet each facing straight forward, in a representation of isolation, across the front of a stage. Behind them a computer is operated, sampling and distorting the glissandi of the strings through four bass amps into a growing bass drone. As the background noise and the glissandi drop in pitch so do the lights, achieving an emotionally engaging theatrical and musical synthesis. “Cruel and Usual” shows that “new music” can be both accessible and relevant." <a href="http://aussietheatre.com.au/author/josephine-giles/">Josephine.Giles</a>, Aussie Theatre.</em><br><br>To perform this work, you can download the video below and use that as the score, or download the iPad app, the <a href="https://itunes.apple.com/us/app/decibel-scoreplayer/id622591851?mt=8" target="_blank">Decibel ScorePlayer</a> which has many more features such as the ability to network multiple iPads (one foe each member in the ensemble if desired), change the speed, move around for rehearsal etc
Dynamic Architecture 1
No full text<div>For Mark Cauvin<br><br>For solo double bass and transducer. 21"<br>Premiered October 15, 2015, at Sound Spectrum - Music From Visitors.<br>ACMC November 2015, Bon Marche Studio, UTS.<br><br>"A magnificent music...21 minutes of magnificent tension' <em>Kasper Toeplitz,<a href="http://www.revue-et-corrigee.net/" target="_blank">Revue et Corigee </a>2014, Dec 2017.</em><br><br>Excepts from this piece are used for the film <a href="https://vimeo.com/158462362" target="_blank">Stones for Dancing Stones for Dying</a> by Kate McMillan, and the film <a href="http://factor30films.com.au/projects/blight/" target="_blank">Blight</a>, directed by Perun Bonser.<br><br>Featured on Cat Hope 'Ephemeral Rivers' CD, <a href="http://www.hathut.com/upcoming" target="_blank">Hat[now]ART 200</a><br></div><div><br></div><div>Dynamic Architecture 1 is a work for double bass and transducer, where the electronic part (sent to the transducer) is embedded in the double bass score.<br><br>It was composed for Mark Cauvin by Cat Hope and was premiered in October 2015. The work uses a unique score type that enables a simultaneous playing of the score and the electronics in a synchronized way. The electronic part consists of four sine tones, each tuned slightly lower than a unique tuning for the double bass, and played through a transducer resting on the body of the bass. The electronics ‘sound’ the bass, through its body and vibration of the strings. The double bass, performed on its back with three bows, is activated in different ways, through bowing of the tail piece, a bow ‘rehaired’ with guitar strings and delicate ‘col legno’ bowing to create multiple layers beyond the expected range of the double bass. The work takes its departure from what is often called dynamic architecture, a term that is often used to describe designs in urban architecture that prevent human engagement such as loitering sleeping or play. The shapes used provide key structural and harmonic information in the work.<br><br><br>This piece uses the <a href="http://www.decibelnewmusic.com/decibel-scoreplayer.html" target="_blank">Decibel ScorePlayer</a> to read the score and generate the electronic part<a>.</a> Or you can play with the video of the score, with a line out for the audio, downloadable below. You will need the instructions if you use this version. A digital or hard copy of the score is available from <a href="http://materialpress.com/start.htm" target="_blank">Material Press.</a><br></div>
The Earth Defeats Me
No full textFor 2 sustaining instruments and partition concrete.<br>Premiere:<br><em>Shock of the New, Perth, 2015.<br>TENOR Conference, Anglica Ruskin University, Cambridge UK, July 2016.<br>Forum Neue Musik in der Christianskirche, Hamburg, Germany, November 2017.</em><br>Due for release on <a href="http://room40.org/" target="_blank">Room 40</a> in November 2018.<br><br>This piece was co-composed with French music concrete artist<a href="https://lionelmarchetti.bandcamp.com/" target="_blank"> Lionel Marchetti.</a> It is scored for two sustaining instruments and an audio track created by Marchetti, which you can hear on its own <a href="https://lionelmarchetti.bandcamp.com/track/earth-partition-concr-te" target="_blank">here.</a><br><br>The work is performed on the <a href="https://itunes.apple.com/au/app/decibel-scoreplayer/id622591851?mt=8" target="_blank">Decibel ScorePlayer</a> ipad application<a href="https://www.dropbox.com/s/61ybjpvnc1g61td/The Earth Defeats Me.dsz?dl=0">.</a> The file contains Marchetti's audio file synchronised with the score - you will need to run the audio from the ipad into two bass amps.<br><br>All other instructions are in the score. If you need help with how to upload the score into the player, go <a href="http://www.decibelnewmusic.com/decibel-scoreplayer.html" target="_blank">here.</a><br><br>This is a partner piece to another piece by Cat Hope/Lionel Marchetti, 'The Last Days of Reality' for bass flute and tam tam, composed in 2018. A digital an hard copy of the score is available from <a href="http://materialpress.com/start.htm" target="_blank">Material Press.</a>
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