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Freedman, Lori: Bridge (Collection QB)

Bass clarinetist Freedman, with help from pianist Brigitte Poulin, interprets the works of modern composers including Giacinto Scelsi, Georges Aperghis, Monique Jean, &c.
 

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product information:

Personnel:



Lori Freedman-bass clarinet, contrabass clarinet

Brigitte Poulin-piano



Composers



Georges Aperghis

Franco Donatoni

Pascal Dusapin

Lori Freedman

Michel Galante

Monique Jean

Giacinto Scelsi


Click an artist name above to see in-stock items for that artist.




UPC: 771028370924

Label: Collection QB
Catalog ID: CQB 0909
Squidco Product Code: 12582

Format: CD
Condition: New
Released: 2009
Country: Canada
Packaging: Cardstock Gatefold Sleeve 3 panels
Recorded at Studio 270, Montreal from June 26-28, 2009 by Bernard Grenon.

Descriptions, Reviews, &c.

Among many things the function of a bridge is to connect otherwise separate parts, creating a larger, more inclusive whole. The form of a bridge, its structure and design, is beautifully essential. This Bridge is no exception: whether the music is written or improvised what is important to consider is the renaissance of the musician who, as in the past, is both an interpretive and a creative artist, a performer who makes music by way of integrating, "bridging" both worlds to form a larger more unified one. Here Freedman makes the necessary connection between the composer and the listener by her delivery as interpreter, improvisor and as composer herself."-Ambiances Magnetiques

Why Bridge?

One: I love this music.

Two: To document a moment in my career when my playing music is equally about composition, interpretation and the spontaneous combination of the two, in improvisation. For my own artistic health each practise is exactly necessary for the others. Thus Bridge: the connecting structure, the all-inclusive form.

Three: To draw focus to the triangular relationship that exists between the composer, the performer/improviser, and the audience - all roles with which I am very familiar. I am describing there in here: there, the composer; in, inside me as the performer/improviser; here, now in your ears.

Four: A public offering of an exceptional and extraordinary programme of solo clarinet music. The most recent composition, my début performance and the only track with two players, is Michel Galante's Flicker, a duo for clarinet in perpetual motion and a minimal though reassuring bell-tolling piano. Flicker's mechanical flurry is pure texture: a piece concerning the tangible surface. The most sharply contrasting piece is coincidently the oldest, Giacinto Scelsi's Maknongan. This otherworldliness addresses sensations below the surface by undulating waves of slow-motion Morse code. Apart from the gorgeous redrich sound of the contrabass clarinet this score demands creative attention towards what is not written. Turning upwards in tessitura, speed and volume is the second oldest piece on the programme, Franco Donatoni's Clair. This "jazzy halleluiah" contrasts the inquisitive, more introspective nature of the other scores: in the style of an epic military tattoo, Clair is a pure exclamation of joy. Monique Jean has given me music as a passageway: a tunnel, a covered bridge. The only electroacoustic composition here low memory #3 is by nature multiphonic, aurally multi-dimensional and psychically multi-temporal: filling the ear with the weight of a vivid but distant past, powerfully propelling into the present, and groping into inevitable light. The two French works are again contrasting, both to the other compositions and to each other. Whereas the two Italians provide extremes in musical feel, Pascal Dusapin's Itou and Georges Aperghis' Simulacre IV differ radically from each other by the treatment of their materials. Where Itou uses a vast vocabulary to depict a singular character, Simulacre contains relatively few motifs that, re-iterated with nuance, produce a multitude of meanings. If Itou is an angular portrait of a "wyrd" being, peculiar and unpredictable enough to eliminate any programmatic inference, Simulacre is a simple homonymic song, neither rambling nor stumbling in discourse, but rife with specific babblings. My own composition, Brief Candles, stands alone on this album as the only score that includes both written and improvised sections. It requires the performer to be both virtuous and disobedient, always straddling a balance between knowing and discovering, this dichotomy rampantly abused by obscuring the sense of beginning, middle and end.

Five: Bridge One: Firth of Forth, Bridge Two: de Normandie and Bridge Three: 59th Street were entirely improvised moments during the studio sessions, music that was certainly influenced by the written works swarming at the tip of my breath. As with my practise during live performances, I wanted to record that which would surface spontaneously while under the influence of such an exigent programme, relating entities and organizing sounds in time. The result is there, here for you, in my Bridge.

- Lori Freedman


Artist Biographies

"Lori Freedman. Born Toronto, Ontario, Canada, 1958. Residence: Montréal, Québec. Composer, Performer (clarinet, bass clarinet)

Qualified as "a musical revolutionary in the front ranks of the avant-garde" by Alex Varty of the Georgia Straight (Vancouver), Lori Freedman (clarinets) is internationally recognized as one of the most creative and provocative performers. She is a member of a select group known as "renaissance musicians" as her artistic activities cover many fields: performer of written music (well over one hundred works have been written for or premiered by her), composer, improviser, teacher, and on occasion, writer. While managing a full performance schedule of more than 75 public appearances a year, Freedman has been receiving commissions to write music for ensembles such as Orkestra Futura, Arraymusic Ensemble, Ensemble Transmission, Continuum Contemporary Music Ensemble, Ensemble SuperMusique, Ensemble Paramirabo, Upstream Orchestra, Queen Mab Trio, Crowbar Trio, Lott Dance, Oberlander Films, Foresite Theatre, Cooke Productions and Autumn Leaf Productions. Her current discography comprises over 59 recordings, the most recent of which include Greffes (Empreintes digitales), On No (Mode Records), Bridge (Collection QB), Plumb (Barnyard Records), 3 and À un moment donné (Ambiances Magnétiques), Huskless! (Artifact), See Saw and Thin Air (Wig). Highlight collaborations include work with Rohan de Saram, Barre Phillips, Helmut Lachenmann, Frances-Marie Uitti, Monique Jean, Joëlle Léandre, Axel Dörner, George Lewis, the Jack Quartet and Richard Barrett."

-ActuelleCD (http://www.actuellecd.com/en/bio/freedman_lo/)
5/23/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"An active soloist, chamber musician, vocal accompanist and teacher, my repertoire covers all periods from the invention to the deconstruction of the piano. A proponent of 20th and 21st century music, I have commissioned and premiered more than fifty works for solo and prepared piano, various chamber ensembles and larger conducted ensembles. My touring have brought me accross Europe and North America.

Aside from playing solo repertoire, my collaborations have shaped an important part of my life. My faithful collborators include the doublebassist Ali Yazdanfar, singers Ingrid Schmithüsen, Andréanne Brisson-Paquin and Vincent Ranallo, pianist Jean Marchand, as well as the members of Ensemble Transmission : Jocelyne Roy, flute, Stéphane Fontaine, clarinet, Alain Giguère, violin, Julie Trudeau, cello , and Julien Grégoire, percussion.

Having recorded more that a dozen commercial Cds, my most recent achievements include: Folklore imaginaire music by Ana Sokolović with Ensemble Transmission (Naxos) and Pierrot lunaire with Ingrid Schmithüsen (Atma).

I teach contemporary literature to pianists at the Schulich music School of McGill University and contribute to the conducting classes at Université de Montréal as a teaching assistant. In my private studio, I teach pianists of all ages and levels, classical, romantic and modern repertoire. I am regularly called upon to adjudicate Arts Councils grant proposals as well as Canadian Music Competitions, and performance exams. I am as well a member of the Summer Academy of the Domaine Forget since 2001."

-Brigitte Poulin Website (https://brigittepoulin.ca/en/apropos)
5/23/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Paul r. Harding was born in New York and attended college in Buffalo, NY, where he was tutored by saxophonists Archie Shepp and Charles Gayle. He moved to the West Coast, where he got to know bassist Michael Bisio in the mid-1980s. They did many performances in galleries, bars, and performance spaces."

5/23/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Paul r. Harding was born in New York and attended college in Buffalo, NY, where he was tutored by saxophonists Archie Shepp and Charles Gayle. He moved to the West Coast, where he got to know bassist Michael Bisio in the mid-1980s. They did many performances in galleries, bars, and performance spaces."

5/23/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Georges Aperghis was born in Athens in 1945. He lives and writes in Paris since 1963. His work is notably characterized by a questioning about languages and the meaning. His compositions, wether instrumental, vocal or for stage, explore the borders of the intelligible, he likes to create twisted tracks which allow him to keep active the listener (stories emerge but are suddenly refuted).

Aperghis' music is not strictly linked to any dominant musical aesthetics of the contemporary musical creation but follows on his century by a dialogue with other forms of art and an extreme open-mindedness to intellectual, scientific and social fields. This otherness is combined with innovation when he includes electronics, video, machines, automatons or robots to his performances. Aperghis works closely with group of interpreters who are entirely part of the creative process. They are comedians (Edith Scob, Michael Lonsdale, Valérie Dréville, Jos Houben), instrumentalists (Jean-Pierre Drouet, Richard Dubelski, Geneviève Strosser, Nicolas Hodges, Uli Fussenegger) or vocalists (Martine Viard, Donatienne Michel-Dansac, Lionel Peintre). From the 90's he shared new artistic collaborations with danse (Johanne Saunier, Anne Teresa De Keersmaeker) and visual arts (Daniel Lévy, Kurt D'Haeseleer, Hans Op de Beeck). The main european contemporary music ensembles have developed a working relationship with Aperghis through settled commissions that are now part of their repertory (Ictus, Klangforum Wien, Remix, Musikfabrik, Ensemble Modern, Intercontemporain, Vocalsolisten, the SWR choir).

Recently Georges Aperghis received the Mauricio Kagel Prize in 2011 and the Golden Lion for Lifetime Achievement - Venise Biennale Musica 2015. The BBVA Foundation Award " Frontiers of Knowledge " goes to Georges Aperghis in 2016 (category contemporary music)."

-Georges Aperghis Website (http://www.aperghis.com/biographies.html)
5/23/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Lori Freedman. Born Toronto, Ontario, Canada, 1958. Residence: Montréal, Québec. Composer, Performer (clarinet, bass clarinet)

Qualified as "a musical revolutionary in the front ranks of the avant-garde" by Alex Varty of the Georgia Straight (Vancouver), Lori Freedman (clarinets) is internationally recognized as one of the most creative and provocative performers. She is a member of a select group known as "renaissance musicians" as her artistic activities cover many fields: performer of written music (well over one hundred works have been written for or premiered by her), composer, improviser, teacher, and on occasion, writer. While managing a full performance schedule of more than 75 public appearances a year, Freedman has been receiving commissions to write music for ensembles such as Orkestra Futura, Arraymusic Ensemble, Ensemble Transmission, Continuum Contemporary Music Ensemble, Ensemble SuperMusique, Ensemble Paramirabo, Upstream Orchestra, Queen Mab Trio, Crowbar Trio, Lott Dance, Oberlander Films, Foresite Theatre, Cooke Productions and Autumn Leaf Productions. Her current discography comprises over 59 recordings, the most recent of which include Greffes (Empreintes digitales), On No (Mode Records), Bridge (Collection QB), Plumb (Barnyard Records), 3 and À un moment donné (Ambiances Magnétiques), Huskless! (Artifact), See Saw and Thin Air (Wig). Highlight collaborations include work with Rohan de Saram, Barre Phillips, Helmut Lachenmann, Frances-Marie Uitti, Monique Jean, Joëlle Léandre, Axel Dörner, George Lewis, the Jack Quartet and Richard Barrett."

-ActuelleCD (http://www.actuellecd.com/en/bio/freedman_lo/)
5/23/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.


Track Listing:



1. Bridge One: Firth of Forth 2:12

2. Flicker 2:58

3. Itou 7:33

4. Brief Candles 11:02

5. Maknongan 4:24

6. Bridge Two: de Normandie 5:21

7. Clair 5:09

8. Simulacre IV 8:12

9. Bridge Three: 59th Street 6:00

10. low memory #3 11:46

Related Categories of Interest:


Improvised Music
Musique Actuelle
Compositional Forms
Canadian Composition & Improvisation

Search for other titles on the label:
Collection QB.


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