Flutist Lina Andonovska’s solo concert offers visual fireworks as well as sonic ones. The concert features mash-ups from Quentin Tarantino’s films Pulp Fiction and Kill Bill and draws inspiration from glitch art.
What does glitch art mean to you as a performer?
For me, glitch is beauty in imperfection. I first encountered the glitch aesthetic by heading along to see Autechre perform in my early 20s and being a fan of a number of artists on the Warp record label. I don’t think I ever imagined at that stage what might be possible when this ‘post-digital’ idea cross-pollinated with art music… It’s very exciting to discover as a performer.
Nicole Lizée’s Tarantino Etudes is based on visual material from Quentin Tarantino films. Could you explain the link between visual material and music in your solo recital?
The visual and sonic material is a mash-up of scenes from Pulp Fiction and the Kill Bill volumes where the glitch is essentially the duet partner of the bass flute. One of the movements of the piece incorporates Uma Thurman’s character Mia Wallace (in Pulp Fiction) cutting a line of heroin… This action is then looped, providing the rhythmic foundation of the movement.
I’m really excited about working on the piece by Lizée. I first came across her work when she collaborated with the Australian Art Orchestra at the Metropolis New Music Festival in Melbourne in 2016. I was blown away by her performance alongside some of Australia’s great improvisers and instrumentalists. I’m humbled to be performing her work at Musica nova.
Transience and impermanence are some of the key themes in the repertoire you’ve chosen. How can these themes be depicted musically?
I’m fascinated by these themes, and I can relate to them on a personal level. Chris Cerrone’s “Liminal Highway” is inspired by Canadian indie-rocker John K. Samson’s poem. It talks about drifting off to sleep whilst in transit, missing the song you were waiting to hear on the radio; about the towns you pass on your journey that you will never call home. The work itself is nostalgic and sentimental, much like Cerrone’s other work. The music is transcendental to listen to as well as to play.
The flute’s sonic possibilities, resonance and the overtone series play a part in the compositions of Cerrone, Pintscher and Dennehy. What could the audience focus on while listening to these pieces?
The works on the programme expand the sonic palette of the instrument, exploiting what the instrumentalist is capable of to extremes. Again, a theme that keeps reoccurring in my work is testing the extremities of what is possible physically, energetically and sonically. This will be evident in the programme. “(beyond) a system of passing” by Pintscher is a dynamic and powerful work with moments of volcanic eruptions followed by serene calm; Cerrone’s work takes the audience on a journey. The Dennehy is yet to be composed as it will be a world premiere – so I too am looking forward to what will be put in front of me!
Text: Vera Plosila
Image: Claudia Phares