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: \/ F A N G \ / : '
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\ / presents \ / .
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: Artist......: Emilie Cecilia LeBel
: Album.......: Landscapes of Memory :
: Label.......: Redshift Records .. .:.. .
Genre.......: Avantgarde :
Catnr.......: TK551 .
' Source......: CD ,
; Rip.date....: 2024-12-21
Str.date....: 2024-10-18
Quality.....: 229kbps/44.1kHz/Joint Stereo . :..
.:. Url.........: http://www.emilielebel.ca '
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\ / # title time \ /
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1. ghost geography 32:44
2. pale forms in uncommon light 30:51
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\ / ________ Runtime 63:35
,\ /... . . .... .... \ / ' Size 109.71______
:\/ ', \ / , \ /
' '... ..\ /.. .. .....:. .. .... .. . ..\ /.
: Release Notes: \/ , \/ ,
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,: Emilie Cecilia LeBel composes subtle, delicate music for :,
: ensembles and soloists that centres otherworldly sonics as it :
:' elegantly unfolds. While her music inhabits a space that often ':
,: feels small in scale and muted in hue, the response it has :,
: elicited for the Alberta-based artist is anything but that. Just :
:' last year, she made her full-length recorded debut with field ':
,: studies which not only garnered critical praise but also landed :,
: her a 2024 JUNO Nomination for Best Classical Composition. :
:' Previously, she was the Affiliate Composer with the Toronto ':
,: Symphony Orchestra (2018-2022) (she is now their Composer :,
: Advisor), Composer-in-Residence with the National Youth :
:' Orchestra of Canada (2015), and received awards such as the ':
,: LandÆs End Ensemble Composer Competition (2016), Toronto Arts :,
: Foundation Emerging Artist Award (2015), Canadian Music Centre :
:' Toronto Emerging Composer Award (2012), and the Canadian ':
,: Federation of University Women Elizabeth Massey Award (2012). :,
: The revered English conductor Sir Andrew Davis once praised her :
:' for ôwriting music that reflects her intelligence and ':
,: audaciousness.ö :,
: :
:' LeBelÆs second offering, also for the Redshift imprint features ':
,: a diptych of long-form piano solos, each exceeding half an hour, :,
: each interpreted by the workÆs commissioner. The two pieces :
:' share a number of features. In addition to their languid pacing ':
,: and chromatic-but-euphonious harmonic profile, both employ a :,
: droning backdrop produced by placing EBowsùelectromagnetic :
:' exciters traditionally used on electric guitarùinside the piano ':
,: causing the strings they are set upon to vibrate of their own :,
: accord. :
:' ':
,: The underlying inspirations are also related, each dealing with :,
: ostensible stasis in natural scenarios that bely a complex, :
:' minute interplay of various forces. ôghost geographyö bears a ':
,: dedication to æthe North Saskatchewan River û its many :,
: iterations, its ghostsÆ, while ôpale forms in uncommon lightö :
:' was written for the æmontane ecoregion of Alberta û the many ':
,: iterations of light patterns that filter through the :,
: douglas-fir, trembling aspen, engelmann spruce, and lodgepole :
:' pine.Æ ':
,: :,
: The fact that she chose piano to render these themes makes :
:' considerable sense, especially given her approach here. The ':
,: instrument presents a similar situation where its outward :,
: appearance of uniformity cloaks a dynamic world of resonance and :
:' colour. Apart from the soft glow of the EBows, LeBelÆs writing ':
,: uses conventional piano technique exclusively. However, her :,
: sensitivity toward how articulation and velocity activate :
:' various overtones on the piano introduces a vivid ':
,: dimensionality to the sound of these worksùone thatÆs magnified :,
: and extended through the sustained EBow tones. :
:' ':
,: In using said drones, she establishes what appears to be a fixed :,
: element in each piece, yet with the way they both unfold, the :
:' drones draw the listener deeper into the internal motion of the ':
,: pianoÆs sound. :,
: :
:' Rather than feeling like constant hovering pitch, the low drone ':
,: on ôghost geography,ö performed by Toronto keyboard virtuoso :,
: Wesley Shen, registers at the subliminal level, blending in :
:' discreetly with the long tails of every note that Shen plays. ':
,: ItÆs when one attempts to follow any given sonority all the way :,
: to its point of decay that the effect of the EBow becomes more :
:' evident. With just this one continuous tone throughout the ':
,: piece, LeBel opens up a space in the piano where all the :,
: instrumentÆs resonances seem to pool magically, never :
:' disappearing altogether. ':
,: :,
: Straight away the relationship between keyed and sustained :
:' elements on ôpale forms in uncommon lightö is different. ':
,: Sitting square in the middle register of the piano, the EBowÆs :,
: rounded hum swells into the space between each gesture that :
:' celebrated Brazilian-Canadian pianist Luciane Cardassi plays. ':
,: Its character is more persistent, and as the droning pitch moves :,
: with the different sections of the piece, one feels as though :
:' the previous held note is still lingering somewhere in the ':
,: background. :,
: :
:' With their extended durations, shared themes, and common ':
,: instrumentation, this hypnotic pair of works casts a new light :,
: on Emilie LeBelÆs sonic imagination and leaves the listener :
:' enough space to be totally ensconced in it. ':
: '
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\ / \ /
\ / GREETS: \ /
\ / \ /
\ / iPC BOSS HiT2000 1way UKi i8 RNS \ /
\ / MANDY DV8 pLAN9 BUTT \ /
\ / \ /
\/ ____ ____ \/
\ / F A N G \ /
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