ELISION to perform at RMIT Storey Hall on 30 April

left to right: Lawrence Harvey, RMIT and Daryl Buckley, ELISION Ensemble Left to right: Lawrence Harvey, RMIT and Daryl Buckley, ELISION Ensemble at RMIT sound studios.

On Thursday 30 April at 7.30 pm ELISION, Australia’s International Contemporary Music Ensemble, will perform the Australian premiere of Richard Barrett’s World-line cycle and Timothy McCormack’s Heavy Matter for solo trombone (played by Ben Marks), and Genevieve Lacey will perform Liza Lim’s Weaver of Fictions for alto Ganassi recorder.


The ELISION event is presented by RMIT Gallery in collaboration with SIAL (Spatial Information Architecture Laboratory) Sound Studios. It will be recorded for inclusion in the RMIT Sonic Arts Collection, and be performed at Storey Hall, RMIT, 336-348 Swanston Street, Melbourne. Bookings are welcome (03) 9925 1717.

The performance will also feature: Tristram Williams, piccolo trumpet, flugel horn Benjamin Marks, trombone Daryl Buckley, electric lapsteel guitar Peter Neville, percussion Genevieve Lacey, Ganassi recorder.

ELISION has established a reputation for delivering authoritative and virtuosic interpretations of complex, unusual, and challenging aesthetics, often developed in close collaboration with the composer.

Recently the group has worked with composers Bryn Harrison, Sam Hayden, Einar Einarsson, Matthew Sergeant, Luke Paulding, Justin Hoke, Turgut Ercetin and Ann Cleare, and maintained a close research relationship with SIAL studios at RMIT, Melbourne.

ELISION has also developed a strong relationship with newly emergent strands of American composition made evident in the close association with composers Aaron Cassidy, Evan Johnson and Timothy McCormack and recent residencies at Harvard and Stanford Universities.

Richard Barrett’s CONSTRUCTION, a large project commissioned by the European Capital of Culture programme, was premiered by ELISION at the Huddersfield Contemporary music Festival in 2011 and broadcast live by BBC Radio3. In this video, ELISION performs DARK MATTER, an electro acoustic installation performance by Richard Barrett and Per Inge Bjørlo.

‘World-line’ is a term derived from the theory of relativity, and denotes the history of a particle or object as it passes through the dimensions of time and space. The music could be thought of as a miniature ‘universe’, whose matter and energy are composed of the expanding and contracting pitches of sound, and which is experienced in relation to the ‘world-line’ traced by the lap steel guitar and the shifting relationships and perspectives between it and the other instruments and sounds.

world-line is an interlocking cycle of compositions featuring the electric lap steel guitar (in a tuning and setup devised in collaboration with Daryl Buckley, to whom it is dedicated), together with various combinations of piccolo trumpet/flugelhorn, percussion and electronics. It consists of five components, also performable separately: dustriftknotlens, and rasa.


dustknot and lens were commissioned for the RMIT Sonic Arts Collection, while the remainder of world-line was commissioned by the TRANSIT festival in Leuven (Belgium). The five pieces are not played separately, but split into different sections and recombined into a continuous form in which the electronic parts of dust create overlaps between the regions of instrumental activity.

ELISION has recorded over 22 compact discs, undertaken close to 40 international tours to over 14 different countries and initiated international commissions and projects supported by cultural organisations in the United Kingdom, Germany, Canada, Holland, France and Japan.

Daryl Buckley says being in the audience provides another level of engagement with the work: “I know we’re talking about sound, but the manner of engagement that you have with sound is pushed to another level, if you can actually witness what it takes to make that sound.

“So in this case, no sound is divorced from human agency or human action, everything is an outcome of gestures and of effort and of studies that we are making.”


“And I think that dramaturgy, if you like, of locking and unlocking sound, as being something that emerges from and is scripted from what the body can do, is a really, really amazing thing.

“It’s athletic, it’s virtuosic, it has the same sort of fascination in the way that comes from watching somebody in a sporting area or overcoming any obstacle. It’s that application of energies and commitment. So I think it’s a really visually compelling thing to see.”


Venue: Storey Hall Auditorium, RMIT
Address: Level 5, 336–348 Swanston Street, Melbourne
Bookings: (03) 9925 1717/ rmit.gallery@rmit.edu.au
Free admittance. RSVP essential. No reserve seating. 

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