Wed Jan 30
Wednesday Noon Hours
Light and Perspective
Paolo Bortolussi flute & paper
Megumi Masaki piano & paper
Keith Hamel electronics
Jose Franch-Ballester clarinet & paper
Lillios Among Fireflies for flute and electronics
Douglas Finch Epiphanies (2017) for piano — Text by Alice Munro & video by Sigi Torinus
Estibeiro Displaced Light for flute, piano and electronics
Keith Hamel Spark and Sizzle for flute, clarinet, and interactive video and audio electronics
Kotoka Suzuki In Praise of Shadows for three paper players and electronics
12:00 noon, Barnett Hall
$5 at the door (cash only)
This program of contemporary works with electronics and multimedia plays on the subject of light and perspective. From the image of negative light (shadows), to animated light and perspective (Fireflies), to a work reacting to mass refugee migration and light as a metaphor for life (Displaced Light), to bright, colourful and graphic particles of light (Spark and Sizzle — a work written by Keith Hamel specifically for this concert). Outstanding Canadian pianist Megumi Masaki will join UBC Music faculty Paolo Bortolussi, Keith Hamel and Jose Franch-Ballester to present this unique multimedia concert.
Presented by UBC School of Music with support from The Morris and Helen Belkin Art Gallery and Green College.
Spark and Sizzle is a short highly energized romp for clarinet and flute. Both players are playing into microphones, but rather than processing the sound to create electroacoustic layers, each instrument’s notes and gestures are transformed into visual images which move around the screen an interact with one another much the same way the musical lines do. In a sense, we get a live visualization of the performance - when the players are not playing there is no image and the faster and more active their musical lines get, the wilder and more adventurous the graphic images become.
Kotoka Suzuki’s In Praise of Shadows is performed on instruments of varying sizes and shapes that were created by the composer entirely out of paper. Amplification and electronic media create a perspective where the nearly inaudible rustling of paper becomes a rich and mesmerizing soundworld.
In Marc Estibeiro’s Displaced Light, inspired by refugee crises in Europe in 1956 and 2016, there is a sense of pervasive struggle built into the work, as if sounds are unwilling to be drawn from the instruments. The flute opens the work from silence, gradually turning the subtle, distant sound of wind and breath into a present sound and then fading back into silence. These moments of stillness are accompanied often by single notes in the piano that are left to ring until they join an undercurrent of electronic sound that reacts to the live performance.