Flutist Tessa Brinckman (flute, alto & bass flutes, traverso) leads an exploration of the ancient and modern with French master-collaborators, Caroline Delume (guitar, theorbo) and Masha Lankovsky (violin). Two works by Paris/American composers Nissim Schaul and Peter Vukmirovic Stevens will premiere, along with those of Mark Applebaum, Elizabeth Brown, Doina Rotaru, Sigismondo D’India and Martin Lodge. The program reaches across the globe and centuries (Europe, USA and New Zealand), creating new language from ancient instruments, in play with visual projections by several of the composers. Doors and the bar open at 8pm, and the concert starts at 9pm.
The fastidious, highly elaborate pictographic score for The Metaphysics of Notation by maverick Mark Applebaum has been performed globally in numerous, unusual iterations.
Three wildly expressive songs by the Sigismondo D’India, “Intenerite voi, lagrime mie, “Cara mia cetra” and “Cruda Amarilli” have been adapted for traverso and theorbo.
Doina Rotaru draws from from ancient Romanian traditional music, and Spirallis III for alto flute and guitar is inspired by the ancient cultural symbol of the sun.
Elizabeth Brown composes and performs on flute, shakuhachi, and theremin, and Augury for flute and guitar reflects these experiences, as a luminous, hallucinatory narrative.
Peter Vukmirovic Stevens new work Illusive was written for Tessa Brinckman for flute and violin by describes a story of misunderstandings, or misinterpretation.
Nissim Schaul has written a new work for Tessa Brinckman, Placeholders, with Wild Animal for traverso and projected score, that connects seen and heard colors. Throughout most of the piece, the flutist responds in real time to random changes in projected color fields.
Feadóg mhór in oíche spèarghelai by Martin Lodge was recreated for Tessa Brinckman for bass flute and electroacoustics, with prerecorded vocalisation and taonga puoro (traditional Maori instruments).