performances
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alone (solo works)
3 February 3pm CoolChange Gallery 1F Bon Marche Arcade Building 74-84 Barrack Street, Perth, Western Australia, 6000 Anne Le Barron - Planxty Bowerbird [1982] Barry Truax - Steam [2001] Simon Charles - Murrinidindie [2016] Lindsay Vickery - escadaria do diabo [2016] Kirsten Smith - flutes
Lindsay Vickery - clarinet/saxophone Jameson Feakes - guitar Catherine Ashley - harp |
HEDKIKR and GreyWing with Orphans
21 December 5pm Spectrum Project Space
21 December 5pm Spectrum Project Space
HEDKIKR [Darren Moore Drums and Lindsay Vickery - Saxophone] |
Orphans
Dom Barrett(guitar), Ben Greene (drums), Dan O'Connor (trumpet) |
GreyWing
Cat Hope - Signals Directorate [2014] for bass clarinet, electric guitar, harp and electronics Catherine Ashley - When will She Learn [2018] for flute, clarinet, electric guitar, harp and electronics † Eduardo Cossio - Ghost [2017] for flute, bass clarinet and electric guitar † Lindsay Vickery - Tokyo Avian Sound Ark [2016] for clarinet, electric guitar, harp and electronics † Sam Gillies - Snowden (eyes in the sky) [2014] for bass clarinet, electric guitar, harp and electronics Istvan Marta - jmw's strange meeting with romeo and juliet [1986] |
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Ex Machina (works with mechanical recordings)
14 November 2018 7:30 Old Customs House, Fremantle. An important thematic strand in GreyWing performances has been music featuring field recordings, images and other data from the natural environment. Ex Machina shifts this focus towards the anthropogenic soundworld of machines and the mechanical. The six works in this concert span 50 years of engagement with essential compositional issues of art/artifice, natural/synthetic, representational/abstract and music/noise through the juxtaposition of musical performance, sonic reproduction and manufactured sound. Californian Robert Erickson was one of the first to directly search for the “music in non-musical sounds” as the inspiration of music with acoustic instruments and electronics. He pioneered the use of analog spectrography to visualise the shapes of complex sound objects. His Nine and a Half for Henry (and Wilbur and Orville)and its sibling Pacific Sirens(performed by GreyWing in September) both employ scores hovering between traditional notation and a spectrogram. In the digital era, Peter Ablinger is perhaps the most obvious living heir to John Cage’s embrace of all sound – especially noise. Ablinger developed the concept of “Phonorealism” exploring the fidelity of sound reproduction as a subject by altering the grain of the grid used to replicate it – like the pixel size of a photograph. Joanna Bailie and James Saunders take almost opposing positions: Bailie reinforcing and then dissipating the illusion of a recording of Trainsand Saunders completely stripping electro-mechanical sounds of their physical context in instruments with recordings. Camilla Hannan is renowned for her sound and radiophonic work with recordings of machines and generously agreed to collaborate on a piece for this concert. Dane Yates turns his attention to a simple but very Australian machine – the keg spigot. 1. Robert Erickson - Nine and a Half for Henry (and Wilbur and Orville) [1968] 10:05 2.Joanna Bailie - Trains [2014] 10:40 3.James Saunders - instruments with recordings [2012] 08:05 4.Camilla Hannan/Lindsay Vickery - Telescope Turbine [2018 10:00 5.Dane Yates - Vinosity [2018] 09:21 6.Peter Ablinger - Book of Returns [2013] (part 1) 13:35 7.Peter Ablinger - Book of Returns [2013] (part 2) 06:15 |
Kirsten Smith - flutes
Lindsay Vickery - clarinet/saxophone Melanie Robinson - cello Jameson Feakes - guitar Catherine Ashley - harp |
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artificial field (works with artificial field recordings)
9 September 3pm CoolChange Gallery 1F Bon Marche Arcade Building 74-84 Barrack Street, Perth, Western Australia, 6000
1.Matthew Burtner - Tingnikvik [2001] 10:14 2.Michael Terren - As Rendered [2014] 12:23 3.Vanessa Tomlinson - Sonic Dreams [2017] 05:40 4.Lindsay Vickery - rising water [2018] 07:13 5.Ryan Burge - Simulacra II [2018] 07:08 6.Robert Erickson - Pacific Sirens [1968] 13:23 Kirsten Smith - flutes
Lindsay Vickery - clarinet/saxophone Phil Waldron - double bass Jameson Feakes - guitar Catherine Ashley - harp |
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lines of flight launch
Friday, April 6 at 6 PM - 9 PM Gallop House 22 Birdwood Parade, Dalkeith WA 6009 works by Catherine Ashley, Eduardo Cossio, Sam Gillies, Cat Hope and Lindsay Vickery Presenting the works. 1. Sam Gillies - Snowden (eyes on the sky) [2015] 06:55 for clarinet, electric guitar, harp and electronics 2. Catherine Ashley - When Will She Learn [2018] 08:55 for flute, clarinet, electric guitar, harp and electronics 3. Lindsay Vickery - here, apparently, there was time for everything [2015] 08:22 for soprano saxophone, electric guitar, harp and electronics 4. Eduardo Cossio - Ghost [2017] 07:00 for flute, bass clarinet and electric guitar 5. Cat Hope - Signals Directorate [2014] 07:15 for bass clarinet, electric guitar, harp and electronics |
Kirsten Smith - flutes
Lindsay Vickery - clarinet/saxophone Jameson feakes - guitar Catherine Ashley - harp |
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nature forms I launch
Sunday, March 25 at 6 PM - 9 PM Eric Singleton Bird Sanctuary, Bayswater works by Matthew Burtner, Sam Gillies, Josten Myburgh, Yoko Ono, Vanessa Tomlinson, Chaz Underriner and Lindsay Vicker. GreyWing supported by Louise Devenish and percussionists. 1.Vanessa Tomlinson - Static [2015]08:32 2.Lindsay Vickery - Sanctuary [2018] 08:21 3.Matthew Burtner - A'aa [2009] 08:11 4.Lindsay Vickery - small waves raised by the evening [2016] 07:33 5.Vanessa Tomlinson - Sonic Dreams [2017] 05:45 6.Sam Gillies - Shelter [2016] 05:34 7.Chaz Underriner - nocturne 4 [2012] 11:28 Kirsten Smith - flutes
Lindsay Vickery - clarinet/saxophone Jameson Feakes - guitar Catherine Ashley - harp |
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22 July 2017 GreyWing Rio 1917: Scale Variable 2
WAAPA Auditorium 1.Heitor Villa-Lobos - Sexteto Mistico [1917] 08:07 2.Filipe Lara - Parabolas da Caverna [2014] 14:18 3.Sam Gillies - A door to a place, to something ongoing [2017] 12:47 † 4.Pedro Alvarez - Instead [2013] 08:24 5.Alexander Turley - Nocturnal [2016] 12:22 † 6.Ellie Cumming - Változó Évszakok [2017] 05:58 † 7.Eduardo Cossio - Ghost [2017] 07:08 † 8.Lindsay Vickery - Liminario [2017] 08:01 † † first performance
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7 April 2017 730 - Sonic Wonderment Revisited
WAAPA Auditorium Clocked Out (Vanessa Tomlinson and Erik Griswold) teams up with GreyWing Ensemble (Lindsay Vickery, Catherine Ashley and Jameson Feakes) and the WAAPA Composers' Orchestra to perform colourful new works for large ensemble and electronics. 1.Ben Carey - Magnetic Visions IV [2017]10:20 2.Lindsay Vickery - Detritus [2015] 09:03 3.Gabbi Fusco - Heart in one's mouth [2016] 07:30 4.Erik Griswold - Action Music [2013]07:38 5.Vanessa Tomlinson - Stasis [2017]07:30 6.Lindsay Vickery - TECTONIC: rodinia [2016] 04:59
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21 January 2017 Audible Edge: Four days of experimental and improvised music
CHRISTIAN WINDFELD [dk] / GREYWING ENSEMBLE / INGAR ZACH [nor] 1. GreyWing Audible Edge I 13:35 2. GreyWing Audible Edge II 10:28 |
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13 May 2016 GreyWing: nature forms
State Library of WA
Grey Wing Catherine Ashley – harp Jameson Feakes – guitar Lindsay Vickery – clarinet |
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20 April 2016 GreyWing: Tokyo Sound Space Ark.
WAAPA Auditorium
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1 March 2016 Greywing Lunchtime Concert, 1.10
WAAPA Auditorium
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20150424 Sound Unbound - Greywing Trio (Lindsay Vickery, Catherine Ashley, Jameson Feakes)
Spectrum Project Space
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