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| REVIEWS & ARTICLES |
Articles 1 to 3 of 18
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| Mercury newspaper (Hobart Tasmania) |
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Reviews by 10/03/2011 |
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Con candidates showcase talent
Conservatorium Recital Hall Hobart
…. Brigid Burke's. Whisper and Speak and Broken Strings for Clarinet composed and played by Brigid Burke with pianist David McNicol…..featuring some beautiful melodic ideas and clever intermingling of two instrumental parts. |
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| Resonate Australian Music Centre Publication |
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Reviews by Bruce Crossman 2/10/2010 |
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….The Melbourne-based Brigid Burke's Island City created a glowing patchwork quilt of sonic textures interwoven in chunky juxtapositions of busy space with beautifully evolving sine wave-like purity of clarinet tones, glowingly formed with flawless intonation from Burke amidst the electronic language. Interestingly, in contrast to Masushita's spaciously meditative use of shakuhachi, Burke's music used the sonic materials in a constantly moving series of juxtapositions of a more European orientation. |
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| RealTime issue #93 Oct-Nov 2009 pg. 50 |
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Reviews by Gail Priest 3/10/2009 |
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Solo Perspective 2…..The evening began with Burke who composes for clarinet and video. Her first piece, Island City (2009), is energetic, with sharp vocal utterances, sibilances, intricate clarinet trills and sustained split notes. It is accompanied by snapshots in a grid format of scenes from the coastlines of Victoria and Ichagaya in Japan and a live feed of a seahorse in a fishbowl. The effect is of faded and fragmented recall, where perhaps it’s not the event itself you recall, but rather the memory of the photograph.
Three Sounds on Buildings (2004) offers a more cinematic approach, the extended techniques applied to the B-flat clarinet completing the stark, yet somehow affectionate visual composition of old buildings, graffiti, corrugated iron textures and long pans taken from a train window. There is a sense of nostalgia, perhaps due to the work’s original conception in 1992 (for slides), and while a well-explored visual field, the composition of music and vision provides a satisfying narrative. The final two pieces, Roses will Scream (2007) and Scratching (2009), incorporate live video in a more essential way, overlaying live feeds to affect textures and transparencies on pre-recorded material, both photographic and hand drawn—an impressive feat of multitasking. Both pieces for bass clarinet explore the rich range of the instrument, finding an elasticity to its tone and timbre but with an agile, melodic touch. Brigid Burke’s compositional strategies and integration of visual elements make her performance quite unique. |
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