A hybrid piece about the technological ways we capture memories and how captured memories relate to recollection. This piece uses field recordings collected by the composer across a 12-year period, narration and the sounds of live photography.
Aides memoire is the title of the performed piece, with POV being the title of a byproduct piece created from the photos taken in the performance. POV takes the form of a video comprising the still photographs from multiple cameras from a single performance, giving a different view of that performance from documentations captured of the performance itself:
‘deceptively simple… Rowley’s actions were extremely deliberate and the sounds that she made coalesced into a striking audio piece’ (Robert Hugill, reviewing Things I Found In Boxes: Opening at Bastard Assignments: Fresh & Clean 3)
A work in progress which combines electroacoustic music and live performance, Things I Found In Boxes explores ideas of memory and self-identity through objects and was developed following an extended period of sorting through belongings I’d stored in Australia for a decade.
The first section of Things I Found In Boxes, “Opening” was performed by the composer at Bastard Assignments: Fresh & Clean 3 at Block 336 Gallery in Brixton in February 2016. This section explores sounds produced by packing materials – principally cardboard boxes, tape and newspaper. This section comprises a static tape part with a part for live performer playing a cardboard box full of screwed up newspaper. Photographs are by Dimitri Djuric.
The rest of the work is currently under development.
Watching the Streets of Zurich and Brussels was the first piece I created for February 2012’s Lucky Dip album project. It consists of two improvised flute lines (played by me) combined with field recordings I made in Zurich and Brussels.
Erik Satie’s ‘Chanson’ is the first of his Trois autres mélodies, written in 1887. This arrangement, for voice, vibraphone and tape by Caitlin Rowley was commissioned by American composer Adam Di Angelo and completed in 2009. The tape part uses recordings from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara (with permission) as well as environmental sounds recorded in Ealing (London) and Brussels by the composer.
Not wanting to greatly change the beauty of Satie’s original music, the aim was for the tape part to underscore the feelings of fleeting pleasures, and the melancholy aspect of J.P. Contamine de Latour’s text, while the vibraphone and voice present the melody and accompaniment almost unaltered from the original.
The score comes with a CD of two versions of the tape part: one with and one without the vibraphone part, enabling either easy solo practice for the singer, or performance when a vibraphone may be difficult to come by.