Diatribe Stage 2: Lina Andonovska – A Way A Lone A Last  @ New Music Dublin 2020

Diatribe Stage 2: Lina Andonovska – A Way A Lone A Last @ New Music Dublin 2020

4
Friday, 28 February 2020, 9.00pm

Curiosity, fearlessness and versatility have established Lina Andonovska as a rare breed in the flute world. This performance marks the release of her much-awaited début solo record, in the electrifying presence of percussionist Matthew Jacobson and Claire Chase, who the New York Times described as “the most important flutist of our time”

Felipe Lara - Meditation and Calligraphy for solo bass flute (2014, Irish Premiere)
Nick Roth - A Loved A Long for solo flute (2017)
Phyllis Chen - Roots of Interior for flute and heartbeat (2019, Irish Premiere)
Mario Diaz de Leon - Luciform for flute and electronics (2013, Irish Premiere)
Marcos Balter - Pessoa for solo flute (2013, Irish Premiere)
Donnacha Dennehy - Bridget for solo flute (2019, Complete World Premiere)
Mario Diaz de Leon - Altar of Two Serpents for two alto flutes (2009, Irish Premiere)
Amanda Feery - The Scolds for solo flute (2019, World Premiere)
Marcos Balter - Edgewater for two flutes (2009, Irish Premiere)
Barry O’Halpin - Hox for flute and percussion (2019)
Judith Ring - A Breath of Fresh Air for solo flute 2019, World Premiere)
Nick Roth - Bátá for amplified bass flute and percussion (2017)

Performers:
Lina Andonovska flutes
Claire Chase flutes
Matthew Jacobson percussion

The Diatribe stage features a specially-commissioned work by artist Rory Tangney.

Length: 90’

Website

Comments

Paul O'Connor
4
Playing with heart

Why I gave the above rating: 

Some music casually picks up from where others left off and "has a go at it", saying what it has to say in the same or a similar vein. Some music doesn't. As Lina Andonovska said at the end of this Diatribe-programmed night, Claire Chase has taken flute playing to "the next level", and Andonovska and the composers of many of the pieces played during the two hours had learned a lot from Claire's ground-breaking approach to the flute – what you might usefully think of as dancing and speaking and acting *flute*, as much as note making with it. I was literally hearing for the first time much of this new language as it was being spoken/danced/acted, and it was therefore exciting and thrilling as well as challenging and unsettling. It includes, for instance, speech, spitting, whistle & pitch gestures being pressed into the embouchure hole, rapid shifts in style and sudden changes in mood, physical movement emphasising and perhaps even altering the sound. So: using the flute to facilitate a broader range of expression. In a sense the drama of the notes being elaborated or commented upon by other techniques. This kind of *pushing the instrument* has of course been going on in music, across the full range of instruments, for a long time now – as reflected in Matthew Jacobson's playing, which I'm more familiar with, who for instance used a scrunched up piece of paper during one piece, a new one on me, but not a new departure. The flute's particular relationship with the human body gives it a unique set of gestures that Chase & Andonovska are exploring and experimenting with so ably and with such a sense of joy and fun and appreciation. One of the most moving and different things I've seen in music in a while happened at the end of a piece called 'Roots of Interior' by Phyllis Chen: Andonoska joined Chase on stage and facing her inserted a stethoscope-like mic inside Chase's jumpsuit against her chest to pick up her heartbeat, while Chase continued – curtailed somewhat in her movements suddenly by the connection – to play the melody and I guess respond in some sense to this live-feed amplification of the sound of her heart beating inside her ribcage there and then for all to hear. James Galway this is not.

Feb 29, 2020
 

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