Скачать или смотреть Lisa Cheney | When We Speak for Solo Cello and Electroacoustic Track

When We Speak (2016 rev. 2017/18) for Solo Cello and Electroacoustic Track

Composer: Lisa Cheney - https://www.lisacheney.com.au/
Cellist: Gemma Kneale - https://www.gemmakneale.com/
Video: Matthew Kneale, Lisa Cheney
Video Design/edit: Rohan Goldsmith, Lo Vis Films - https://lovisechoes.net/
Audio Engineer: Kevan Atkins - https://kevanatkins.com/
Mastering: Adam Dempsey- https://adamdempseymastering.com/

Buy/hire the score: https://www.australianmusiccentre.com...
Buy the recording: https://lisacheney.bandcamp.com/album...

PROGRAM NOTE from the Composer:
"When We Speak for solo cello and electroacoustic track seeks to comment on broader issues surrounding gender inequality and these considerations in my compositional practice. Throughout the work, the interweaving of many ‘voices’ is present in my musical language, the music and speech of respected Finnish composer, Kaija Saariaho and the expression of the live cellist and their real voice. This, at times semi-improvised cello part, weaves its way through an atmospheric soundscape challenging and questioning the role of the live musician to blend in, fight against or rise above the sound world. The accompanying recorded musical sounds are extracted from Saariaho’s compositions, with particular weight placed upon manipulated excerpts from the solo cello work Sept Papillons."

ACKNOWLEDGEMENT:
“I was extremely sad to hear of Saariaho’s recent passing. I extend my thanks to Saariaho’s publishing team who granted me permission to use her music and words in this way back in 2016.” - Lisa Cheney, 2023

COMMISSION NOTE:
When We Speak was commissioned by Samantha Wolf for the ‘This Will Be Our Reply’ 2016 International Women’s Day Concert. The first performance was given by Gemma Tomlinson on 6 March 2016 at Melba Hall, Melbourne Conservatorium of Music, VIC, Australia.

TECHNICAL NOTES:
The cello should ideally be amplified, and an optional small amount of reverb added. The amount of amplification required naturally depends on the performance space; however, it should be audible over the electroacoustic track. It is suggested that performer use a stopwatch (or more modern equivalent) to sync with the start of the track. Where possible the cello output and electronic track output should be mixed into the same stereo speakers, not separate speakers for each output. The use of an electric cello is also welcomed.

PERFORMANCE NOTES:
It is the composers hope that the performer will consider themselves intertwined with the musical and socio-political material, as their musical response and physical voice are integral to the concept of the work. It is important to consider the questions: “where/who am I in this work?” and “whom am I speaking for?” The intention is not only to react and to reflect on the messages Saariaho may be trying to convey but to also inject their own voice and musicality into the performance. At differing times, the role of the performer transitions between ‘following and reacting’ or ‘leading and reflecting’.

When We Speak was conceived in many interweaving, fluid layers and the artist must consider their role in blending with the electroacoustic track or working against it. When gestures such as glissandi or dynamic fluctuations occur directly after key statements made by Saariaho, it is intended that the musician respond musically, as befitting their reaction to the words and their relationship to them. The start and end of many gestures need not be as exact as indicated unless connected with a dotted line. Preference overall is given to expression, timbre, detail, texture and gesture.

The third and fourth pages include a sizeable improvisatory section marked ‘musical response’. From 7’30” to 10’00” the cello line should grow in energy, volume, density, grit, anger, and momentum with the track, reaching a climax around 9’30”. This section can be viewed as a ‘quasi-cadenza’ that unleashes a torrent of discordant emotional energy in response to the subject matter and a chance for the performer’s voice in this work to be more than just the role of ‘interpreter’. Gestures are provided as starting place only for the musician to expand on. Bringing back, referencing or morphing earlier musical ideas are also encouraged so long as they differ some way from their original form. Some examples of this might include: a "molto vib." instruction is turned in to an aggressive 20 second improvisation on slowly increasing sul pont. glissandi or a Bartok pizz. may turn in to startling percussive outbursts using the bow, the body of the instrument etc. The performer is granted creative license to shape the musical response section as they see fit. This could also include the use of pedals and loops.

OTHER:
When We Speak was a finalist for Instrumental Work of the Year Award at the 2018 Art Music Awards.