BECAUSE WE COULDN'T GET LIZZO - Kelly Catlin - Norman Menzales - SPO S42E10 (Flute Festival)
Presented as part of the FLUTE MUSIC BY WOMEN COMPOSERS: AN INTERNATIONAL ONLINE FESTIVAL 2022 "BECAUSE WE COULDN'T GET LIZZO" (A Drag Flute Music Video) -- Composed for flute and electronics by Kelly Catlin (USA); Performed by Norman Menzales. ------------------------------------------- Programme Notes: Background: Flutist Norman Menzales and flutist-composer Kelly Catlin connected through a mutual friend. Together they crafted a drag show for flute and electronics that his drag queen alter ego, Mia Zowa, performed at the 2021 National Flute Association convention. The piece showcases the flute while poking lighthearted fun at our flute community’s often competitive culture. Lizzo is one of the most visible flutists in American pop culture today and her message of self-love and confidence became the moral of this piece. The piece begins as Mia Zowa marches onstage to the beat of a snare drum, metronomic drill sergeant, metronome clicks, and a sampled excerpt from Sousa’s "The Stars and Stripes Forever". She readies herself to drill passages on the piccolo with perfectionism and military-like precision. In the following sections, she takes up the flute and performs a series of mash-ups and comedic skits meant to highlight her virtuosity and ultimate superiority as a flutist. The piece reaches a fever pitch as the tempo flies ever faster, gossiping flutists’ voices overlap and glitch, and Mia Zowa herself spins in faster and faster metaphorical circles, wailing in the flute’s highest octave, seemingly questioning whether she will ever be good enough. It all comes to a screeching halt as she lip-syncs to a theatrical scream, sick of comparison, judgement, and perfectionism. She awakens to Lizzo’s “Good as Hell”, signaling her realization that ultimately what matters is her love of music, self-confidence, celebrating unique differences, and supporting others. Performance: Drag shows require high energy and exaggerated movements that reflect a fast-paced storyline. This piece moves quickly through many styles, sampling and riffing off of well-known pieces from the flute repertoire. Mia Zowa must quickly adapt when switching styles, exaggerating every mood. For example, the first 36 measures should be performed on piccolo in the style of a Sousa march, then the performer must quickly take up the flute and begin playing in the operatic style of Richard Strauss’ Salome. Mia Zowa performs this piece theatrically, both in regards to her flute-playing and body language. ------------------------------------------- The FLUTE MUSIC BY WOMEN COMPOSERS: AN INTERNATIONAL ONLINE FESTIVAL 2022 is presented by the Scarborough Philharmonic Orchestra (Ontario, Canada / https://www.spo.ca) and the Flute 360 Podcast hosted by Dr. Heidi Kay Begay (Texas, USA / https://heidikaybegay.com/episodes/). CANADIAN FESTIVAL PARTNERS: The Association of Canadian Women Composer (https://acwc.ca/) and the Canadian Music Centre (https://cmccanada.org/). UNITED STATES PARTNERS: Texas Flute Society (https://www.texasflutesociety.org/), Montana Flute Association (https://www.montanafluteassociation.o..., and New Jersey Flute Society (https://www.njflutesociety.org/). FESTIVAL FUNDED BY: The Canada Council for the Arts (https://canadacouncil.ca/) ADDITIONAL FESTIVAL FUNDING BY: Toronto Arts Council (https://torontoartscouncil.org/home) and SOCAN Foundation (https://www.socanfoundation.ca/). #SPOGreatMusic #FluteMusicByWomenComposersFestival #BecauseWeCouldn'tGetLizzo
