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Solor (CD) Le programme en détail

To the Bridge

Lori Freedman

  • Année de composition: 2014
  • Durée: 10:29
  • Instrumentation: clarinette basse (clarinette en si bémol, voix)
Ce texte n’est pas disponible en français.

To the Bridge is a set of five miniatures connected by four bridges. In this music the bridge is the place of arrival or departure and the miniature is the approach to or from that place. As in “reality”, the bridge has a composite and beautiful function: at the same time that it connects one zone to another it also creates a new zone combining the three separate entities. This is, of course, my own perspective on making music: playing music is equally about composition as it is about interpretation and the spontaneous combination of the two — improvisation. As a bridge is a connecting structure for an all-inclusive form, each of these three musical elements is precisely necessary in my approach To the Bridge.

This triangular relationship draws focus on the interconnection between the composer, the performer and the audience — all roles with which I am personally very familiar. I am describing there in here: there, the composer; in, inside me as the performer; here, now in your ears.

[ix-18]


Création

  • 3 mars 2014, Lori FreedmanCanzona @ GroundSwell: Music of Mind and Body, Crescent Fort Rouge United Church, Winnipeg (Manitoba, Canada)

Solus

Lori Freedman

  • Année de composition: 2017
  • Durée: 5:58
  • Instrumentation: clarinette contrebasse
Ce texte n’est pas disponible en français.

I once played a festival in Vancouver called Solus. It was conceived and hosted by maestro Giorgio Magnanensi. I recently asked him to remind me about some of his thoughts behind producing such a festival.

He said: “Above all, I simply had the desire to demystify the idea about contemporary music as something driven by genius composers when I could see the wonderful and original work coming out by such great soloists and virtuoso instrumentalists like you, Stefano Scodanibbio, Garth Knox, Frances-Marie Uitti and Kuniko Kato! On a more philosophical side it was because I love embodied forms of sound-thinking: forms of being through sound, where playing is not about sound as an object, “a thing” but sound, in an embodied form, existing as an event. Although the Latin meaning of solus is “alone,” “isolated,” for me solus is also something unique and shares a gift. For the festival I wanted to find us then in this enhanced place where we resonate with sonically embodied beings and embedded sounds: a place in which our sensory experience of reality and artistic form can finally converge; at times in ephemeral forms, though deeply engaging ones.”

[ix-18]

Snaggle

Lori Freedman

  • Année de composition: 2018
  • Durée: 6:58
  • Instrumentation: clarinette basse
Ce texte n’est pas disponible en français.

Caught in a code mode.

A spewing tongue tale.

Tell me what you know that is more than enough.

And I will tell you that it is The Museum of Nothing.

[ix-18]

Suite for the Unsighted

Lori Freedman

  • Année de composition: 2018
  • Durée: 9:49
  • Instrumentation: clarinette contrebasse (clarinette basse, clarinette en si bémol)
Ce texte n’est pas disponible en français.

By heart (cbcl); Blind-sided (cl); By ear (cbcl); Voyeuriste (bcl); By touch (cbcl); Third eye (cbcl).

[ix-18]

En tout cas

Lori Freedman

  • Année de composition: 2017
  • Durée: 4:00
  • Instrumentation: clarinette basse (voix)
Ce texte n’est pas disponible en français.

All moments happened at once

In a bathtub salon of liquid music

Publically seeking cover in skin sound.

[ix-18]

Tatu

Lori Freedman

  • Année de composition: 2002
  • Durée: 9:28
  • Instrumentation: clarinette en si bémol
Ce texte n’est pas disponible en français.

A sunflung untonguetwister

TA: taking away to armslength, a terrifying abyss teeters a tott, a twang, a threshold.

TU: ungraciously they unraveled three universes, tracking unrelentless transformations, undulations of time.

[ix-18]


Création

  • 26 février 2003, Lori Freedman, clarinette • Bradyworks + Lori Freedman + Wende Bartley, Salle de concert Oscar-Peterson — Université Concordia, Montréal (Québec)

The Locusts’ Trill

Lori Freedman

  • Année de composition: 2018
  • Durée: 1:12
  • Instrumentation: clarinette en si bémol
Ce texte n’est pas disponible en français.

From Basho:

How still it is
Stinging into the stones
The locusts’ trill

[ix-18]

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