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Brigid Burke, Mark Cauvin and Michael Fowler


Brigid Burke, Mark Cauvin and Michael Fowler

  • Date: Sunday, 16 August 2009, 5:00pm
  • Venue: Recital Hall East — Sydney Conservatorium of Music, Cnr Macquarie St and Bridge St, Sydney, NSW
  • Series: This event is part of the New Music Network 2009 series
  • Tickets: $20/$12 — Tickets can be purchased online or by phone on (02) 8256 2222

Event Details

Brigid Burke is a clarinetist, composer, visual artist and video-maker. Acoustic extended clarinet sounds excite her with their extraordinarily rich possibilities. She is particularly interested in integrating her musical ideas with a combination of different visual media. The series of works presented are inspired by natural elements such as architecture, natural environments, water, glass, paper, organic textures, visual art works, movement (dance), air, improvisation, notation and text.

Solo double bass player Mark Cauvin is a performer with a penchant for the avant-garde. In this concert, Mark will present two contrasting works beginning with WKP 258 for double bass and prepared microphone. This piece is a form of improvisation/meditation with no formal structure because the principal sound is the sharp jangling sound of the microphone reacting to the oscillating string. The nature of this sound determines the direction. The second work is Mark’s version of Karlheinz Stockhausen’s graphic score Plus Minus for solo double bass. It is made up of 53 distinct events played consecutively. The technical demands of Plus Minus require extreme sensitivity of touch and virtuoso skill.

Michael Fowler is an exponent of electro-acoustic music, and performs on a variety of keyboard instruments including, synthesisers, the toy piano, live electronics, circuit-bending devices and the prepared piano. He has always been attracted to the percussive qualities of the piano, and, at the same time conscious of how as pianists, we tend to be extremely liberal in the interpretation of rhythm. The combination of piano and tape music brings a new dimension to how one plays and interprets a musical score. In his performace of Milton Babbitt’s Reflections and Ben Boretz’s Downtime, the preciseness becomes a term that sits outside of traditional approaches to interpretation.

Further information for this event is available online at the event's website

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