|NICOLE LIZÉE — ENCOUNT3RS (12 Oct 2018)
Born: April 7, 1973 in Gravelbourg, Saskatchewan and received a MMus from McGill University.
Location: Montréal, Québec, Canada
✹ National Arts Centre Orchestra
✹ 3 OF OUR MOST INNOVATIVE COMPOSERS + 3 OF BALLET’S TOP CHOREOGRAPHERS
Album released: Septembre 29, 2017
Record Label: Analekta
Duration: 59:52 + 27:10 => 87:02
✹ Alexander Shelley, Conductor
✹ Andrew Staniland, composer
1. I Rex……….. 10:53
2. II Styx……… 09:35
3. III Eden……. 08:37
✹ Nicole Lizée, composer
4. Keep Driving, I’m Dreaming 30:47
✹ Kevin Lau, composer
1. Dark Angels 27:10
✹ This landmark NAC Commission pairs three of Canada’s outstanding choreographic talents with three of the country’s most exciting composers. Ballet BC’s trail~blazing Emily Molnar meets her musical match with innovative composer Nicole Lizée. Alberta Ballet’s eminent and prolific Jean Grand~Maître joins forces with multiple award~winning new music visionary Andrew Staniland; and Guillaume Côté, gifted dancer and choreographic associate with the National Ballet of Canada, is perfectly paired with noted emerging composer Kevin Lau.
✹ Skladatelka Nicole Lizée spojuje staré s novým, zastaralé s inovativním, vadné s nedotčeným. Její práce tlačí technologické objekty do bodu roztržení a vytěsňuje tyto zvuky do různých a odvážných kontextů. Lizéeovo dílo je charakterizováno úžasnou zvukovou krásou, která je v takových procesech odhalena. „Moje estetika je postavena na myšlence poruchy. Přijmout poruchu, zahrnující vintage nástroje a vintage technik, starodávné filmové techniky [...], ale především poruchy. Stroje a média se chovají špatně. A využijete~li tyto chyby [...] nejen tím, že používáte stroj, který se otáčí, ale simulujete~li to pomocí akustických nástrojů i/anebo variabilně přítomností živých hudebníků, přijde i kouzelník.“
✹ Called a „brilliant musical scientist“ and lauded for „creating a stir with listeners for her breathless imagination and ability to capture Gen~X and beyond generation“, JUNO~nominated composer Nicole Lizée creates new music from an eclectic mix of influences including the earliest MTV videos, turntablism, rave culture, Hitchcock, Kubrick, 1960s psychedelia and 1960s modernism. She is fascinated by the glitches made by outmoded and well~worn technology and captures these glitches, notates them and integrates them into live performance.
✹ Nicole’s compositions range from works for orchestra and solo turntablist featuring DJ techniques fully notated and integrated into a concert music setting, to other unorthodox instrument combinations that include the Atari 2600 video game console, omnichords, stylophones, Simon™, and karaoke tapes. In the broad scope of her evolving oeuvre she explores such themes as malfunction, reviving the obsolete, and the harnessing of imperfection and glitch to create a new kind of precision.
✹ In 2001 Nicole received a Master of Music degree from McGill University. After a decade and a half of composition, her commission list of over 50 works is varied and distinguished and includes the Kronos Quartet, Carnegie Hall, BBC Proms, the San Francisco Symphony, the National Arts Centre Orchestra, the Toronto Symphony Orchestra, l’Orchestre symphonique de Montréal, Eve Egoyan, the Australian Art Orchestra, l’Orchestre Métropolitain du Grand Montréal, CBC, Radio~Canada, NYC’s Kaufman Center, Powerplant, Darcy James Argue’s Secret Society, So Percussion, Ben Reimer, Vicky Chow, Tapestry Opera, Standing Wave, Gryphon Trio, MATA Festival, TorQ Percussion, Fondation Arte Musica/Musée des beaux~arts de Montréal, E~Gré National Music Competition, Innovations en Concert, ECM+, Continuum, Soundstreams, SMCQ, Arraymusic, Megumi Masaki, and Kitchener~Waterloo Symphony. Her music has been performed worldwide in renowned venues including Carnegie Hall (NYC), Royal Albert Hall (London), Muziekgebouw (Amsterdam) and Cité de la Musique (Paris) — and in festivals including the BBC Proms (UK), Huddersfield (UK), Roskilde (Denmark), Bang On a Can (USA), Classical:NEXT (Rotterdam), All Tomorrow’s Parties (UK), Barbican’s Sound Unbound (UK), Metropolis (Australia), Sydney Festival (Australia), X Avant (Canada), Luminato (Canada), Other Minds (San Francisco), C3 (Berlin), Ecstatic (NYC), Switchboard (San Francisco), Melos~Ethos (Slovakia), Casalmaggiore (Italy), and Dark Music Days (Iceland).
✹ Nicole was recently awarded the 2017 SOCAN Jan. V. Matejcek Award. In 2013 she received the prestigious Canada Council for the Arts Jules Léger Prize for New Chamber Music. She is a Civitella Ranieri Foundation Fellow (New York City/Italy) and recently received a 2016 Lucas Artists Fellowship Award (California). In 2015 she was selected by acclaimed composer and conductor Howard Shore to be his protégée as part of the Governor General’s Performing Arts Awards. This Will Not Be Televised, her seminal piece for chamber ensemble and turntables, placed in the 2008 UNESCO International Rostrum of Composers’ Top 10 Works. Her work for piano and notated glitch, Hitchcock Études, was chosen by the International Society for Contemporary Music and featured at the 2014 World Music Days in Wroclaw, Poland. Additional awards and nominations include an Images Festival Award (2016), JUNO nomination (2016), Dora Mavor Moore nomination in Opera (2015), Prix Opus nomination (2013), two Prix collégien de musique contemporaine, (2012, 2013) and the 2002 Canada Council for the Arts Robert Fleming Prize for achievements in composition.
✹ Nicole is the Composer in Residence at Vancouver’s Music on Main.
✹ She is a Korg Canada and Arturia artist.
✹ „That’s where the real learning begins: finding yourself and finding your true voice.“
✹ „I’m so thrilled to see people coming to me, because they recognize and appreciate the specificity of my work,“ she says. „I recently received a request from Pat Steward, who was Bryan Adams’ drummer for a long time. He saw one of my concerts in Vancouver and really liked it. After contacting me, he commissioned a piece and simply said, ‘Do your thing.’ That’s the kind of collaboration I find exciting.“
✹ „I love every note Nicole Lizée writes, and her score here is no exception. Lizée works her usual wizardry between the acoustic and the electronic, employing effects like speeding up and slowing down, clashing time signatures, Dali~esque glissandi, and fantastic percussion combinations, tied together with wit and the kind of originality that makes you grin at the sheer balls of it.“ ~Natasha Gauthier — artsfile
|NICOLE LIZÉE — ENCOUNT3RS (12 Oct 2018)