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Tiding III is the third in a series of pieces partly inspired by Christiane Baumgartner’s 2013 wood cut Deep Water. Illean especially admires the way the “image evokes the perception of a liquid form through very precise means…The woodcut images approach abstraction – appearing endless – but bear the personal traces of an assiduous, intimate working method.” Alongside soprano saxophone, electric guitar, and piano, there is also a part for re-tuned prepared acoustic guitar, laid flat and played by a percussionist with a tone bar and mallet or brush.
Tiding III combines carefully calibrated non-tempered tunings and a regularly tuned piano to create complex sonorities that are diffracted and transformed at different speeds along multiple planes. The pre-recorded sounds (created with Ensemble Nikel) foreground quiet details in the piano resonance and auditory phenomena and obscure the distinction between electronic and acoustic sounds. “As when one contemplates the natural world itself," Illean notes, “my hope is to create the conditions where time can be experienced differently, and where both those performing and those joining in listening are attuned to subtlety and the potential for gentle change.”
The piece, which appeared alongside works by Alex Paxton and Rebecca Saunders, was commissioned by the Festival d'Automne à Paris 2025 and Ensemble Nikel, with the support of Ernst von Siemens Music Foundation; Ensemble Nikel have announced the Swiss premiere of the piece at the Gare du Nord, Basel, on May 22, 2026.
The Tiding series explores elemental patterns. Tiding II, for saxophone, percussion, piano and electronics, was premiered in 2021 by Trio Accanto and the SWR Experimental Studio at the Donaueschinger Musiktage. It featured on arcing, stilling, bending, gathering, the celebrated 2024 portrait album from NMC, performed by David Zucchi and GBSR Duo, who gave the UK premiere of the work at the Huddersfield Contemporary Music Festival.
Part of the Festival d’Automne à Paris.
Trombonist and composer Alex Paxton, a rising figure in improvisation and composition, presents two premieres that showcase his exuberant vitality—strikingly contrasted by the introspective music of Australian composer Lisa Illean. Rebecca Saunders, for her part, brings together intimacy and raw intensity in both sound and voice. Inspired by poet Ed Atkins, her piece Us Dead Talk Love heralded her first opera, Lash, premiered in Berlin in June 2025.
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October 16, 2025
Le recueil *A Primer for Cadavers* d’Ed Atkins se préoccupe, de manière enivrante et virtuose, du corps, de la chair, de l’impermanence et de la fluidité. Un flux de conscience tour à tour tangible, proche, intime, intensément présent, et p
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*Tiding III* est la troisième œuvre d’une série en partie inspirée par la gravure sur bois *Deep Water* que Christiane Baumgartner a réalisée en 2013. J’apprécie beaucoup son travail, et en particulier la manière dont cette image suggère la
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Frapper et Souffler, alimenter éléments électriques et autres fragments d’élémentsdescience pour que VOS PIEDS improvisent continuellement d’intenses détails. Améliorations. Fiction biologique. Et pourtant… faut bien continuer à bouger hein
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Pour moi, construire un monde comme improvisateur revient à développer l’imagination sur ce que le corps peut être ; il s’agit d’intégrer le langage musical jusque dans la chair, et, en retour, laisser le corps bercer avec tendresse la gram
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Pour moi, construire un monde comme improvisateur revient à développer l’imagination sur ce que le corps peut être ; il s’agit d’intégrer le langage musical jusque dans la chair, et, en retour, laisser le corps bercer avec tendresse la gram
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