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Solor (Download) Track listing detail

To the Bridge

Lori Freedman

  • Year of composition: 2014
  • Duration: 10:29
  • Instrumentation: bass clarinet (clarinet in B-flat, voice)

Stereo

ISRC CAA4J1810021

  • 44,1 kHz, 16 bits

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]


Premiere

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

Solus

Lori Freedman

  • Year of composition: 2017
  • Duration: 5:58
  • Instrumentation: contrabass clarinet

Stereo

ISRC CAA4J1810022

  • 44,1 kHz, 16 bits

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

  • Year of composition: 2018
  • Duration: 6:58
  • Instrumentation: bass clarinet

Stereo

ISRC CAA4J1810023

  • 44,1 kHz, 16 bits

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

  • Year of composition: 2018
  • Duration: 9:49
  • Instrumentation: contrabass clarinet (bass clarinet, clarinet in B-flat)

Stereo

ISRC CAA4J1810024

  • 44,1 kHz, 16 bits

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

[ix-18]

En tout cas

Lori Freedman

  • Year of composition: 2017
  • Duration: 4:00
  • Instrumentation: bass clarinet (voice)

Stereo

ISRC CAA4J1810025

  • 44,1 kHz, 16 bits

All moments happened at once

In a bathtub salon of liquid music

Publically seeking cover in skin sound.

[ix-18]

Tatu

Lori Freedman

  • Year of composition: 2002
  • Duration: 9:28
  • Instrumentation: B-flat clarinet

Stereo

ISRC CAA4J1810026

  • 44,1 kHz, 16 bits

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]


Premiere

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

The Locusts’ Trill

Lori Freedman

  • Year of composition: 2018
  • Duration: 1:12
  • Instrumentation: B-flat clarinet

Stereo

ISRC CAA4J1810027

  • 44,1 kHz, 16 bits

From Basho:

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

[ix-18]

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