Talk:Alexina Louie

From Wikipedia, the free encyclopedia

	This article falls within the scope of the WikiProject contemporary music, a collaborative effort to improve Wikipedia's coverage of contemporary music subjects. If you would like to participate, please visit the project page, where you can join the project and see a list of open tasks.
???	This article has not yet received a rating on the quality scale.
???	This article has not yet received a rating on the importance scale.

This article must adhere to the policy on biographies of living persons. Controversial material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libellous. If such material is repeatedly inserted or if there are other concerns relative to this policy, report it on the living persons biographies noticeboard.

	This article is within the scope of WikiProject Biography. For more information, visit the project page.	Biography Portal
Start	This article has been rated as start-Class on the project's quality scale. [FAQ]

[edit] Infinite Sky with Birds

Possible original research, moved from main (needs source):

As of 2006, she is a composer-in-residence at the National Arts Centre in Ottawa and debuted her new composition Infinite Sky With Birds On February 22^nd. This new composition was unlike anything Louie has ever done. It is characterized by its speed and more extensive use of the brass section.

Rewster 08:15, 1 March 2006 (UTC)

Hi Rewster and everyone else who is reading. You seemed really excited about Louie's piece, but unfortunately, I don't think I can do it justice. It is much much faster than anything I have ever heard of hers. The last piece I saw of hers at the NAC was Bringing the Tiger Down From the Mountain II, a cello feature with orchestral accompaniment. It is slow and full of intricate emotions. I went to a Pre-Concert Talk with the composer the day I heard her piece. Infinite Sky With Birds is very quick. It "just flies from start to finish" according to Louie. The woodwinds perform sweeping upward runs to characterize the taking off of the birds. I've only heard it once, so I don't really know what to say. Louie said herself that she relearned how to use the brass section. She talked about how brass to her was always for colour, not for extensive passages. This time, she used the horns, trumpets, and trombones in a more extensive manner. We might have to wait for a recording to learn more about the piece. You can read the NAC programme at [1] but that's really the only thing I can find on the Internet about it. Devahn58 22:30, 1 March 2006 (UTC)

I just realized you said that stuff needs sourcing. Maybe you could source that programme, but I got it straight from her mouth. I'm not sure how to source it. She said this stuff to a small audience at the NAC in Ottawa on Feb. 23, 2006. Devahn58 22:33, 1 March 2006 (UTC)