566:"Elision is a unique venture with a wonderful record of explorations of cross-cultural and intermedia composition and performance, engagements with architecture, medicine and science, and enjoys a capacity to develop unique and successful international collaborations. It has changed the face of Australian music, not only in its support for talented composers and musicians, but in ways of presenting music for new audiences. Elision has also cleverly developed an international market for its work by commissioning composers from other countries and by partnering overseas ensembles in productions. It has achieved a remarkable touring record."
598:"From time to time one still comes across the idea that modernist music, by its very nature, is ugly and inexpressive, and that the newly tuneful composers of the last couple of decades have saved the art from going down some blind alley. If evidence were needed to counter that notion, a recent CD of solo works by Brian Ferneyhough (Etcetera KTC 1206), played by the extraordinary musicians of the Australian group Elision, would do the trick."
576:"Chris Dench (b. 1953) has become a part of the musical life of Australia, as has Richard Barrett (b. 1959) in works written for the Elision ensemble, whose splendiferous range of colours (with a prominent tuned percussion centre, including angklung, mandolin and guitar, as well as full stretches of winds and strings) has produced a kind of sensuous complexity that may be uniquely Australian."
314:; Brisbane 2002 and Berlin 2003). These works stem from close collaboration between composer, visual artist, sound artist and musicians, and frequently occur in musically unusual locations (disused power stations, old railway workshops, backstage, galleries), and create a "total art work" aiming to envelop the audience visually as well as sonically.
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556:"an uncompromisingly radical attitude to the presentation of the music, treating each piece as a score for a total art work, involving installation artists to design the sets for their performances and taking their audiences on a journey, not only through the music but through the performance space itself."
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1994 and Perth 1995) (described as "one of the most astonishing creations in recent
Australian music performance"). The use of improvisation as a creative laboratory to generate sonic understandings, subsequently informing more formal processes, has occurred with composers Richard Barrett and John
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items, proving yet again that 'impossible' is a relative word. Its repertoire, once relatively eclectic, has now become sharply focused: both technically and aesthically, it specialises in 'tough cookies'. Typically, though not exclusively, these tend to be rhythmically highly complex, with dense
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pose significant interpretative challenges. Interplay between the resultant unpredictabilities and performative decisions required by complex multi-layered and paradoxical strands of information embedded in notational practice can lead to a frustration for the player, or to a fascination born of
318:"ELISION constructs itself not so much as a concert-performing ensemble but as a vehicle for the creation of unique and thought–provoking artistic statements ... ELISION projects are ones with which one mentally carries on an argument long after the event. ELISION is a mouth."
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engagement in the act of "what it is to make music". The latter is a key aspect for the members of ELISION; a further is the physicality of performance, the intimate connection between the musician and the instrument.
393:; several founding members remain in the ensemble. While resident in Melbourne it built an international reputation, making its first European appearance in 1991. In 1996 it relocated its administrative base to the
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ELISION combines its
Australian perspective with a long-term exploration of complex musical aesthetics, and in so doing has developed an international reputation for Australian new music and performance practice.
331:'s environment, you had the impression of being in a forest of grabbing arms. Conducted from a spaceship's cockpit, one hears the musicians of the Australian ELISION Ensemble partly shielded behind steel cages."
593:, Amsterdam's Ives Ensemble, Australia's ELISION Ensemble—to experience other ways of interpreting the greats of the 20th and 21st centuries, and to hear their unique performance practices at the cutting edge."
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Beyond its traditional concert-giving activity, a distinguishing aspect of ELISION's work had been the creation of new cross-artform events, combining musical performance with the visual and
561:"ELISION has gone the distance and established itself not only as one of Australia's finest contemporary music ensembles but as an ensemble of international standing"
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webs of wide-flung micro-tonal melodies, and the same horror of rests that one finds in Fauré's later chamber works. In such a context, even a new cello solo by
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compositional spectrum. A strong element of this music is the sheer difficulty of its performance; multiple compositional layers, complex and heavily detailed
353:; Brisbane and Melbourne 2008, Moscow and Paris 2009), can be viewed as a continuation of an artistic relationship which began in 1993 with performances of
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who has written three operas and over twenty smaller works for ELISION and its members. Other composers who have written for the ensemble include
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141:, writes of ELISION, "whose splendiferous range of colours ... has produced a kind of sensuous complexity that may be uniquely Australian".
412:, Arts Victoria and Arts Queensland. The ensemble has also secured funding from government and private sources in Europe, particularly to
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new work. ELISION is operated by a not-for-profit incorporated association, whose membership is dominated by musicians in the ensemble.
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ELISION was established in
Melbourne, Australia in 1986 by its current Artistic Director Daryl Buckley and other musicians from the
98:, concentrating on the creation and presentation of new works. The ensemble comprises a core of around 20 virtuoso musicians from
125:, in 18 concerts or events in Melbourne, Sydney, Brisbane, Berlin and London. Its 18th compact disc was released in 2009 (see
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entreated an excursion into the black holes of the universe. On stools and benches welded from steel tubes in the
Norwegian
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Australia and Europe. During 2008 the ensemble presented 36 individual works, including 11
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In 2018, the ensemble toured internationally to
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International fault lines: directions in
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Booklet documenting installation-performance works by
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Playing
Australia: Australian Theatre and the International Stage
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The Scar of
Visibility: Medical Performances and Contemporary Art
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Compilation compact discs featuring tracks performed by ELISION:
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movement. A very long-term collaborator is Australian composer
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Since 1986 it has maintained an active schedule of concerts,
863:, meaning "a cutting of the air ... as the cause of sound".
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KĂĽhn, Georg-Friedrich: "Exkursionen in Zwischenbereiche",
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1080:"ELISION: Philosophy Defining and Performance Practice"
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986:, University of Minnesota Press, 2007, pp. 197–200
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571:"Conventional people may choose to stay at home."
701:Solo music by Richard Hames, Michael Whitticker,
401:in Brisbane from its opening in 2001 until 2008.
366:Bar-do'i-thos-grol (The Tibetan Book of the Dead)
460:), Tristram Williams (trumpet), Benjamin Marks (
998:"The rich yield of the law of the minimum", in
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294:Richard Crow; Perth, Western Australia, 1997),
1210:, Oxford University Press, 3rd edition, p. 594
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164:ELISION's musical aesthetic is at the
521:too many or overly lengthy quotations
381:and Timothy O'Dwyer; Brisbane 2007).
306:; Brisbane 1999 and Berlin 2001), or
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855:The ensemble takes its name from an
629:(1992), ONE-M-ONE Records 1M1CP 1018
196:Violoncello aus Orchester—Finalisten
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796:Featuring guitarist Geoffrey Morris
230:, Evan Johnson, Timothy McCormack,
1270:Musical groups established in 1986
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1207:Shorter Oxford English Dictionary
711:(1998), Institute of Modern Art,
676:(1994), Dischi Ricordi CRMCD 1030
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339:/opera production, most recently
66:Daryl Buckley (artistic director)
1275:1986 establishments in Australia
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969:Jenkins, John and Linz, Rainer:
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699:(1996), Vox Australis VAST 019-2
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617:(1992), RCA BMG/Ariola CCD 3011
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825:Music of Alessandro Melchiorre
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728:Brian Ferneyhough Solo Works
96:contemporary classical music
40:Contemporary classical music
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486:Graeme Jennings (violinist)
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709:the intertwining—the chasm
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678:Memory theatre (opera) by
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488:(violin), Erkki Veltheim (
198:) sounded meek and mild."
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1004:73, June–July 2006, p. 35
957:The Sydney Morning Herald
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730:(1998), Etcetera KTC 1206
693:Music of Michael Smetanin
661:(1993), Etcetera KTC 1167
373:Rodgers, and recently in
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831:(1998), Fontec FOCD 2560
829:Works by Akira Nishimura
643:Garden of Earthly Desire
528:summarize the quotations
395:University of Queensland
940:Oxford University Press
685:Skinless Kiss of Angels
936:Modern Music and After
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773:Music of Chris Dench
754:Opening of the Mouth
667:including the cycle
492:), SĂ©verine Ballon (
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428:), Genevieve Lacey (
323:"The Welsh composer
284:Opening of the Mouth
266:Cross-artform events
1101:Scheer, Edward, in
292:installation artist
282:. Examples include
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420:Current membership
357:(Melbourne 1993).
127:§ Discography
109:, broadcasts, and
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1121:Illegal Harmonies
1082:, elision.org.au
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1016:McCallum, Peter.
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734:Brian Ferneyhough
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216:Brian Ferneyhough
202:The ensemble has
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280:installation art
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50:Years active
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470:electronics
450:Carl Rosman
349:, director
308:Dark Matter
192:Stockhausen
172:end of the
1259:Categories
867:References
627:Driftglass
585:, Paris's
536:Wikisource
414:commission
345:(composer
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160:Aesthetics
107:recordings
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532:Wikiquote
519:contains
276:new media
208:premiered
170:virtuosic
146:Melbourne
100:Australia
31:Australia
1104:RealTime
1084:Archived
1001:RealTime
837:(2002),
790:(2007),
756:(2000),
749:Liza Lim
741:(1999),
722:Liza Lim
703:Liza Lim
687:(1995),
680:Liza Lim
649:Liza Lim
633:Liza Lim
462:trombone
454:clarinet
446:clarinet
430:recorder
347:Liza Lim
300:Liza Lim
240:Liza Lim
150:Brisbane
113:/opera,
1159:The Age
861:elision
857:archaic
810:codex I
426:soprano
385:History
370:Lismore
166:complex
75:Website
63:Members
1235:Portal
1043:
1035:", in
812:(2001)
715:
154:Sydney
152:, and
36:Genres
28:Origin
954:, in
494:cello
490:viola
434:flute
272:sonic
137:, in
1041:ISBN
851:Name
713:ISBN
482:koto
478:harp
458:horn
438:oboe
206:and
168:and
117:and
86:The
841:117
794:182
484:),
448:),
440:),
129:).
1261::
1180:^
1156:,
1143:^
1119::
1094:^
1056:^
1047:,
1009:^
991:^
938:,
934::
922:^
911:,
905::
895:^
875:^
635:,
589:,
290:,
226:,
222:,
218:,
156:.
148:,
1237::
546:)
542:(
538:.
524:.
476:(
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