Back in September I was in New Brunswick to premiere Piling Sand – Piling Stone IV, for flute and Max MSP, by André Cormier. This mammoth, ninety-minute work was performed in both Moncton and St. John: every six minutes the flute is recorded and looped back through speakers surrounding the audience. Gradually, over the course of an hour-and-a-half, the music becomes denser, richer, and more elaborate, until the final six minutes reveal the “complete” piece: all swirling flute lines, Tibetan finger cymbals, and whistle tones. My final day in Moncton included an absurdly large portion of fried clams, some local beer… and a recording session, where we laid down André’s piece for posterity. Below is an excerpt from this utterly unique and otherworldly piece.
Business meeting. Very serious.
My first week at @queerarts! Lots of meetings, lots of (grant)writing, lots of emails, and lots of learning. But I’m excited and super grateful for the support and generosity of @sdholman, the fabulousness of QAF staff Lalia, Mirim, and Ben, and to my proximity to @paulwongprojects — who is a whirlwind of ideas and inspiration, whenever he sets foot in the room.
Toward The Sea by Takemitsu has to be one of my favourite works for flute and guitar: murky, moody, Debussean (that’s a legit word, right?). Adrian Verdejo and I had the opportunity to record this piece for @vicorchestra’s online Global Soundscapes festival, which was just released — you’ll find the link in my profile. The festival also includes lots of fantastic performances, including a great set by @allegrachambero with @melody.courage!