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Critique

Claude Colpaert, Revue & Corrigée, no. 119, March 1, 2019
Wednesday, April 3, 2019 Press

On en redemande.

Critique

Pierre Durr, Revue & Corrigée, no. 119, March 1, 2019
Wednesday, April 3, 2019 Press

La multiplication des pistes […] permet aux quatre musiciens du quatuor de renforcer l’effet drone de la pièce.

Critique

Pierre Durr, Revue & Corrigée, no. 119, March 1, 2019
Wednesday, April 3, 2019 Press

Just So permet de plonger l’auditeur dans une musique relativement déroutante…

Review

Stuart Broomer, The WholeNote, March 27, 2019
Tuesday, April 2, 2019 Press

On Excess, distinguished Montréal-based clarinetist Lori Freedman presses the boundaries of contemporary musical discourse, challenging the clarinet’s, the individual composer’s and her own expressive depths. Pressing a point, she focuses on bass and contrabass clarinet, perhaps the most vocal of orchestral instruments, with every pitch ready to bend and break, a spray of overtones seemingly ever at the ready. Oh, yes, she challenges the listener as well.

The program is bracketed by its most radical and expansive adventures. British composer Richard Barrett’s Interference requires the performer to sing over a four-octave range and play a kick-drum as well as turn in a virtuosic explosion of wild burbling lines from the contrabass clarinet. It’s shamanic work, an invocation of spirits, a depth of expression that tests the limits of performance. At the opposite end of the CD, there’s French composer Raphaël Cendo’s Décombres, a work of “saturation” that fills the sound space with roaring contrabass clarinet and abrasive electronics.

In between, Freedman reaches back to Brian Ferneyhough’s daunting Time and Motion Study I (1977) and explores three recent pieces. Freedman worked closely with Vancouverite Paul Steenhuisen on Library on Fire and Paolo Perezzani on Thymos, the former mixing vocal sounds with bass clarinet, the latter the sonic potential of the contrabass, elephants and all. It’s her own Withwhatbecomes that’s most remarkable: almost unvoiced, it’s filled with the quietest, most fleeting, evanescent sounds, more challenging in its own way than anything else here.

On Excess, distinguished Montréal-based clarinetist Lori Freedman presses the boundaries of contemporary musical discourse, challenging the clarinet’s, the individual composer’s and her own expressive depths.

Métal industriel disco

Geir Qviller, Deichman Musikkbloggen, April 1, 2019
Tuesday, April 2, 2019 Press

Ja, tittelen sier alt, dette er en eksotisk og spennende sjangerblanding. Det starter perkussivt, industrielt og metallisk, men et stykke ute i låta, når man minst aner det, sniker discoen seg inn i lydbildet. Og det funker! Kanadiske Tétreault spiller på platespillere og er ute med ny skive Plus de Snipettes!! på Ambiances Magnétiques.

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