HOME | PERFORMANCES | RESUME | COMPOSITIONS | ART & MEDIA | RECORDINGS  
 
 
 
Read Reviews about Brigid and hear what the critics say...
 
 
 
PUBLICATION
 
REVIEWS & ARTICLES
Articles 4 to 6 of 20
   
Resonate Australian Music Centre Publication   Reviews   by Bruce Crossman    2/10/2010
    ….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.
     
RealTime issue #93 Oct-Nov 2009 pg. 50   Reviews   by Gail Priest    3/10/2009
    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.
     
Resonate Magazine Australian Music Centre Online   Reviews   by Geoffrey Gartner    1/09/2009
    Solo Perspective 2 in the Recital Hall at the Conservatorium of Music, ……Brigid Burke proved herself to be remarkably adroit at playing whilst simultaneously manipulating electronic equipment……. there was lots of highly inventive clarinet playing, particularly in her improvised works. In Island City Burke produced a rapid-fire succession of breaths, shrieks, trills, hisses and vocal utterances, yet, for me, by far the best was her final piece, Scratching, a wonderfully virtuosic improvisation…..
     
 
 
Page » 1 | 2 | 3 | 4 | 5 | 6 | 7
 
     
 
Copyright © 2003 Brigid Burke All Rights Reserved