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Vickery, Lindsay

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Artist, Composer and Academic
Lindsay Vickery is one of the most dynamic voices on the Australian New Music Scene and is also active as a composer and performer across Europe, the USA and Asia. Vickery's music includes works for acoustic and electronic instruments in interactive-electronic, improvised or fully notated settings, ranging from solo pieces to opera. Vickery has been commissioned by numerous groups for concert, dance and theatre and has been described as 'truly an original voice and his work is one of sustained intensity that resonates in the mind long after the performance is over' and a 'master of technological wizardry' The Australian and 'always intriguing ' The Wire.

Vickery is also a highly regarded performer on reed instruments and electronics, touring as a soloist and with ensembles throughout the world. He was a founding member of Alea New Music Ensemble (1987-92), Magnetic Pig (1992-), GRIT (2001-), US-based multimedia group SQUINT (2002-) and most recently HEDKIKR (2002-). He has been a visiting artist at STEIM (Amsterdam), HarvestWorks (New York), the MATA festival (New York), Center for Experimental Music and Intermedia (University of Northern Texas), University of Illinois, Kyoto Seika University, San Diego State University, the DC International Dance and Improv Festival (Washington) and Rensselaer Polytechnic Institute (Troy, NY).

Vickery works as a Lecturer in Music at the WA Academy of Performing Arts, Edith Cowan University in Perth Western Australia, where he also curates the Western Australian New Music Archive. He holds a M.Mus degree from the University of Western Australia and is currently completing a PhD at QUT. In 1989 he received a Sounds Australian Award for his work for Australian Music and he was selected as a 1995 Churchill Fellow to study electronic music in the United States and Europe. In 2001 he was awarded a seeding Grant by the Australian Major Festivals Initiative.

In 2001 his work Rendez-vous: an opera noir with a Video-set by Vikki Wilson and Rick Mason was premiered to great acclaim: 'consistently engrossing, crammed with fascinating visual detail and music that holds the attention... fascinating challenging music theatre' The West Australian.' A gripping theatrical experience... a unique and intrepid fusion of artforms and genres supported by (a) cutting edge musical score' REALTIME.

Vickery has written much music for dance. His scores include: Learning to Fly with Jonathan Mustard (PICA, 1989) 'an overwhelming mix... the music was superb...' Sunday Times; Dance for a Pastime with Jonathan Mustard (PICA, 1993); Vendor (WAAPA, 1993) for Sharesight Dance Company 'wonderful music... quite mesmeric' The West Australian; and electronic big top with Cathie Travers (Sydney and Perth Festivals 1999, ShangHai Festival 2002); Scan (WAAPA, 2002); Dream Tigers (Playhouse, Perth and Danceworks Melbourne 2002) for skadada. He is also well known for his danceworks with interactive electronics - particularly the MIBURI wireless MIDI Jump suit - including [de]CODE me (Sydney Fringe 1998); 5 over 3 (PICA, 1998) 'Surreal and full of wonderful imagery and haunting sounds, this performance was like diving into a deluge of Salvador Dali Paintings.' The Australian; noir (Totally Huge Festival 2000) 'as dizzying an experience as you're likely to get from any dodgem.' The Australian; your sky (REV01 Brisbane PowerHouse 2001, Totally Huge Festival 2001); InterXection (Bienialle of Electronic Art Perth 2002 and DC Dance and Improv Festival 2002).

Vickery is also active as a lecturer, writer and critic. His texts include the libretto for Rendez-vous: an opera noir . 'His adaptation of Robbe-Grillet's novel proves that subtext, ambiguity and the limitations of language can be effectively explored in musical theatre' REALTIME, 'three very short novels' and lyrics to several song cycles including [descent] described in The Australian as 'communicat(ing) in a language that is at once accessible and personal. With utmost sincerity of expression it explores a gamut of emotions, often close to the bone but never maudlin.' He has also has worked as Contemporary Music critic for The West Australian, reviewed for the Australian CD Magazine Soundscapes and written program notes for the Sydney Symphony Orchestra on the work of Arvo Pärt. His program notes on Pärt's music for the 1993 Festival of Perth were described in the Australian Bulletin as 'a revelation'.

 

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Structure based on ISAAR(CPF) - click here for an explanation of the fields.Prepared by: Iain Mott
Created: 25 June 2003
Modified: 26 June 2003

Published by The University of Melbourne
Comments, questions, corrections and additions: i.mott@unimelb.edu.au
Prepared by: Acknowledgements
Updated: 18 January 2007
http://www.sounddesign.unimelb.edu.au/web/biogs/P000394b.htm

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