THEATER IM DEPOT, COMMISSION
ABHAINN
September 2024
Theater im Depot
Dortmund
Theater im Depot
Dortmund
Abhainn (meaning river or tributary as Gaeilge) is a 25 minute opera exploring authentic identity construction in Dublin today. Fundamentally this piece seeks to explore the synchresis of audio and visual communication by presenting sonic, operatic and theatrical elements as a single entity, positing sound as a medium intrinsically tied to identity; an involuntary solvent of the self.
Using electronics, voice, fiddle, saxophone and double bass we follow the story of Éanna, a woman navigating Dublin in 2024. Through seagull encounters, a series of pints, a show with a group of street performers and an altercation with 4 bikes, a bin truck and a trolley, the piece attempts to weave multiple tableaus/tributaries of the self in attempts to find the perfect Irish woman sonified (Cathleen Ni Houlihan of the modern day?).
The in-progress piece premiered as part of Zeitgeist 24’ in Theater im Depot in Dortmund to open their Winter Programme 2024.
Performed by Özgür Yilmaz, Michael McCartan, Eilís Dexter and Lara Gallagher
Using electronics, voice, fiddle, saxophone and double bass we follow the story of Éanna, a woman navigating Dublin in 2024. Through seagull encounters, a series of pints, a show with a group of street performers and an altercation with 4 bikes, a bin truck and a trolley, the piece attempts to weave multiple tableaus/tributaries of the self in attempts to find the perfect Irish woman sonified (Cathleen Ni Houlihan of the modern day?).
The in-progress piece premiered as part of Zeitgeist 24’ in Theater im Depot in Dortmund to open their Winter Programme 2024.
Performed by Özgür Yilmaz, Michael McCartan, Eilís Dexter and Lara Gallagher
LOVEMUSIC COLLECTIVE, COMMISSION
LEAP OF FOALS
April 2024
Project Arts Centre
Dublin
Project Arts Centre
Dublin
As part of Music Current Festival 2024, Lara Gallagher took part in a panel discussion, hosted an interactive workshop and premiered her new work for lovemusic collective Leap of Foals.
Leap of Foals (Aill na Searrach as Gaeilge) takes the form of an installation that strives to harness and interrogate the condition of sound and the processes by which it operates in bodies of water.
Loosely derived from an old Irish myth depicting the story of seven white foals blinded by curiosity and possibility who leap into the sea, this installation explores the interrelationship of corporeality and water. ‘I’m interested in resonance, water as culture vs water as nature – how can we use water and sound as a means of embodied connection, experimentation and creation?’
Full Interview here
Leap of Foals (Aill na Searrach as Gaeilge) takes the form of an installation that strives to harness and interrogate the condition of sound and the processes by which it operates in bodies of water.
Loosely derived from an old Irish myth depicting the story of seven white foals blinded by curiosity and possibility who leap into the sea, this installation explores the interrelationship of corporeality and water. ‘I’m interested in resonance, water as culture vs water as nature – how can we use water and sound as a means of embodied connection, experimentation and creation?’
Full Interview here
GLASSHOUSE, COMMISSION
ALBA
January 2023
The Racket Space
Dublin
The Racket Space
Dublin
Glasshouse commissioned Lara to write two pieces for their ensemble and Theremin which were presented in concert in January 2023.
‘I recently had the opportunity to sail a boat from Dublin to Dundee and the sonic experiences I encountered on this journey were unlike anything I’d witnessed before. I found myself stupefied due to the magnitude and significance of the natural sonic world and its relationship to our small vessel. The power of the wind against every wire and rope oscillating, producing endless ripples of vibration, the hum of the hull as we glided over 6ft waves, the howling ports we frequented where piers acted as funnels, creating chambers of eolian sounds. I became submissive to the natural sonic world, laying back and allowing my body to simply endure the assault of the conditions we withstood.
I was fortunate enough to have brought a portable microphone along with me and I began documenting my journey through the collection of these sounds. These commissions are the beginning of this exploration.’
‘I recently had the opportunity to sail a boat from Dublin to Dundee and the sonic experiences I encountered on this journey were unlike anything I’d witnessed before. I found myself stupefied due to the magnitude and significance of the natural sonic world and its relationship to our small vessel. The power of the wind against every wire and rope oscillating, producing endless ripples of vibration, the hum of the hull as we glided over 6ft waves, the howling ports we frequented where piers acted as funnels, creating chambers of eolian sounds. I became submissive to the natural sonic world, laying back and allowing my body to simply endure the assault of the conditions we withstood.
I was fortunate enough to have brought a portable microphone along with me and I began documenting my journey through the collection of these sounds. These commissions are the beginning of this exploration.’
KIRKOS, COMMISSION
CHROMESPHERE
May 2022
Unit 44
Dublin
Unit 44
Dublin
Lara was commissioned by the Kirkos Ensemble to write a piece for them. Chromesphere became a durational, interactive piece exploring organic, industrial and found sounds through a metal scultpture. 'A blind succession of causes and effects or the timid hesitant growing development of an idea'. The Kirkos ensemble were given a score of instructions to respond to and interacted with their instruments/the sculpture accordingly. The piece took place over two days in Stoney Batter, Unit 44 in Dublin. Commissioned by the Kirkos Ensemble and the Arts Council Ireland.
COMMISSION AWARD, COMPOSITION
INFLATE
February 2022
Rua Red
Dublin
Rua Red
Dublin
'To fill an expandable structure with air or gas until it becomes distended'
This piece was commissioned by Nick Roth (saxophone), Elizabeth Hilliard (soprano) and Barry O'Halpin (guitar) and explores punctuation, pressure, performativity and play through breath and balloons.
Funded by the Arts Council Ireland Commission Award.
This piece was commissioned by Nick Roth (saxophone), Elizabeth Hilliard (soprano) and Barry O'Halpin (guitar) and explores punctuation, pressure, performativity and play through breath and balloons.
Funded by the Arts Council Ireland Commission Award.
OFFSPRING ENEMBLE, COMPOSITION
PIERRE
April 2022
Hošek Contemporary,
Berlin
Hošek Contemporary,
Berlin
The Irish Composer’s Collective released a number of works written by contemporary Irish composers as part of a record entitled RockPools. Lara’s piece Pierre was included played by Ensemble Offspring, one of Australia’s leading contemporary music ensembles.
‘The word Pierre is derived from the greek word petra meaning stone. I throw a small flat ‘pierre’ into the lake. As the stone hits the water it jumps…. And pops again. Look at it! Its taking on an alternate purpose. Silently, the stone skips on the surface of the water and lands with a thud. I continue to play.’
Composers: Sebastian Adams, Anselm McDonnell, Mike Brookfield, Kevin Free, Martin Devek, Lara Gallagher
Percussion: Claire Edwardes
Clarinet: Jason Noble
Master Engineer: Seán Mac Erlaine
Producer: Martin Devek, Kevin Free
‘The word Pierre is derived from the greek word petra meaning stone. I throw a small flat ‘pierre’ into the lake. As the stone hits the water it jumps…. And pops again. Look at it! Its taking on an alternate purpose. Silently, the stone skips on the surface of the water and lands with a thud. I continue to play.’
Composers: Sebastian Adams, Anselm McDonnell, Mike Brookfield, Kevin Free, Martin Devek, Lara Gallagher
Percussion: Claire Edwardes
Clarinet: Jason Noble
Master Engineer: Seán Mac Erlaine
Producer: Martin Devek, Kevin Free
CRASH ENSEMBLE, COMMISSION
PHOENICIA
April 2021
New Music Dublin
Dublin
New Music Dublin
Dublin
My piece Phoenicia was premiered as part of Free State 13 commissioned by the Crash Ensemble. The piece presented, developed into a semi-graphic score exploring the colour purple. The musicians interacted with a visual artist (Elena Gallagher) live as they interpreted the score. The piece was conducted by Ryan B McAdams and presented as part of the New Music Dublin festival.
KATE ELLIS, COMMISSION
SEVER THE SINUSOID
April 2021
Irish Composer’s Collective
Dublin
Irish Composer’s Collective
Dublin
Using Pure data and mobmuplat (a mobile app which reads pure data patches) Lara composed a piece for cello and mobile phone. One mobile phone is attached to the cello. This phone acts as a microphone and feedback station and is movement sensitive. The second phone is placed 2 meters away from the performer and communicates with the first mobile phone based on proximity. Hence if the performer moves to be 1.5m away from phone 2, the sound being emmitted from phone 1 will be affected, changing the sound of the whole piece.
The performer follows a graphic score that allows for improvised movement to ensure they can access the specificity of the space. They will also be seated on a moveable chair to ensure free movement. Through the performers unconscious and conscious relationship to the space and its sounds (sonified by both phones) this piece strives to demonstrate the significance of space as an axial agent in improvised performance practice.
The performer follows a graphic score that allows for improvised movement to ensure they can access the specificity of the space. They will also be seated on a moveable chair to ensure free movement. Through the performers unconscious and conscious relationship to the space and its sounds (sonified by both phones) this piece strives to demonstrate the significance of space as an axial agent in improvised performance practice.
CASHMERE RADIO, COMPOSITION
PERFORM ALTER EGO
April 2021
Cashmere Radio
Berlin
Cashmere Radio
Berlin
In this piece Lara attempts to examine her constructed performative identity whilst undertaking a series of tasks set out as a form of score. As she makes her morning coffee and breakfast she embarks on a journey where she explores the impact of Arduino wearable technologies on her performative identity and specifically examines how broadcasting via radio may also impact such constructed identity. For the duration of the performance, she wears an Arduino digital instrument on her right hand allowing for heightened awareness of her performance. She investigates questions relating to intimacy, artistic output, expectation and explores the pseudo-real world of performing and broadcasting on live radio. Does she deliver a better performance due to the knowledge that the Arduino instrument worked in a specific way? If so, was this affecting the construction of her performative alter ego? How was the knowledge of the existing future radio audience shaping how she analysed herself? How was her breath feeding back on itself controlling her mind and body?
She attempts to uncover the true meaning of the subjective self and whether technology influences this by extending her capabilities or limiting her to perform in a certain way. This piece presents a level of intimacy, allowing listeners access to Lara’s inner thoughts, observations and private actions in her kitchen whilst on the other hand presenting a pseudo-real amalgamation of subjectivity, choice and performance.
Full piece here
She attempts to uncover the true meaning of the subjective self and whether technology influences this by extending her capabilities or limiting her to perform in a certain way. This piece presents a level of intimacy, allowing listeners access to Lara’s inner thoughts, observations and private actions in her kitchen whilst on the other hand presenting a pseudo-real amalgamation of subjectivity, choice and performance.
Full piece here
EXP RADIO PRACTICE, COMPOSITION
MY BODY IS A TEMPLE
July 2020
Cashmere Radio
Berlin
Cashmere Radio
Berlin
Using techniques of auscultation and biofeedback ‘My body is a temple’ exteriorizes the sounds of a performers body undertaking a near impossible physical workout. The workout takes the form of a musical score that instructs the performing body to move and breath in a specific way. The score allows the performer to partake in a form of biofeedback, involving mind-body techniques where the performer uses auditory feedback to gain control over involuntary bodily functions. Sounds of the gut, mouth, lungs and chest of the performer will be amplified.
The piece explores limitations – a live physical body under extreme duress, the pseudo-intimacy created when amplifying bodily sounds, radio as an artistic medium. Using semiotics to control the emotion behind the performance ‘My body is a temple’ strives to place the listener in a state of internal reflection, forcing them to listen inwards becoming aware of a range of emotional states. A piece devoid of visual stimuli may ask the listener to become aware of their own tensions, vibrations, physical matter and limitations.
The piece explores limitations – a live physical body under extreme duress, the pseudo-intimacy created when amplifying bodily sounds, radio as an artistic medium. Using semiotics to control the emotion behind the performance ‘My body is a temple’ strives to place the listener in a state of internal reflection, forcing them to listen inwards becoming aware of a range of emotional states. A piece devoid of visual stimuli may ask the listener to become aware of their own tensions, vibrations, physical matter and limitations.
THE SUGAR CLUB, COMPOSITION
AUF WIEDERSEHEN
February 2020
Sugar Club
Dublin
Sugar Club
Dublin
The piece Auf Wiedersehen was premiered on the 4th of February 2020 at a concert organised by the Irish Composer's Collective alongside composer Jacob TV. The concert took place at the Sugar Club in Dublin and the Chatham Saxophone Quartet performed the piece. The piece is intended to be played alongside a fixed amplified piece. It is an algorithmic composition created on Supercollider based on data found at two train stations (Bellevue, Berlin and Booterstown, Dublin).
© Lara Gallagher