Creative Works

Compositions

Cat Hope’s compositions are available as hard copy through Material Press, Germany or through the Australian Music Centre, and are read for performance using the Decibel ScorePlayer iPad reader.

Cat Hope’s music is conceptually driven, using mostly graphic scores, acoustic /electronic combinations and new score reading technologies. It often features aleatoric elements, drone, noise, glissandi and an ongoing fascination with low frequency sound. Her composed music ranges from works for laptop duet to orchestra, with a focus on chamber works. In 2013 she was awarded a Churchill Fellowship to develop her work, as well as Civitella Ranieri (Italy) and Visby International Composers residency (Sweden) fellowships. Her practice explores the physicality of sound in different media, and has been discussed in books such as Loading the Silence (Kouvaris, 2013), Women of Note (Appleby, 2012), Sounding Postmodernism (Bennett, 2011) as well as periodicals such as The Wire, Limelight, and Neu Zeitschrift Fur Musik Shaft (2013). Her works have been recorded for Australian, German and Austrian national radio, and her work has been awarded a range of prizes including the APRA|AMC Award for Excellence in Experimental Music in 2011, 2014 and the Australia Council for the Arts Peggy Glanville Hicks composer residency in 2014.

In Progress

Speechless – and animated notation wordless opera. (2017)

Large Ensemble

Pure. For string orchestra and percussion. (2014-2016)

Bravo Compound. For Laptop Orchestra. (2015)

Her pockets full of inertia. for flute choir. 13′ (2014)

The End of Abe Sada. For bass orchestra. 12′ (2014)

The Moment of Disappearance for mixed orchestra, guitars and percussion. 15′ (2013)

Black Emperor for 2 organs and orchestra. 25′. (2012)

Small Ensemble

The Dying Pillow. For eight cymbals. (2016)

Erst. For five instruments, synth and spatialisation. (2015)

Wall Drawings. For string quartet and theremin. (2014)

Chrome Arrow. For four sustaining instruments or laptop orchestra (2014)

Sogno 102, For Bass Flute, Bass Clarinet, Cello, Viola, piano and electronics. (2013)

Miss Fortune X for 2 strings, a.m. radio, percussion and piano 6’30” (2012)

Juanita Neilson for 2 violas and 2 cellos, electric guitar and piano 9′. (2012)

Black Eels, Sextet, 7′ (2012)

Platinum Fox for sextet for three strings, brass and percussion, 6′. (2012)

Stella Degradation for small ensemble 11′ (2012)

Liminum for any instruments and electronics (2012). 9′

Cruel and Usual for String Quartet and bass amplifiers (2011). 12′

The Talking Board (co-written with Lindsay Vickery) 6 players and electronics 12′ (2011)

Longing for 5 sustainable instruments (2011). (with MaxMSP Score reader).

Empire for shoe throwers, theramins and MaxMSP. 6′ (2010)

The Possible Stories of Harry Power for alto flute, bass clarinet, laptop, AM radio and MaxMSP/ 7′ (2010)

Wolf at Harp for 4 drum kits (indie rock, jazz, death metal and classical percussion) 14′ (2010)

In the Cut for violin, cello, bass clarinet, bass guitar, turntable and sub woofer. 7′ (2009)

Abe Sada Song Book Vol 1 (2006-2009) for multiple bass instruments. 21′ (2009)

Solo

Tone Being. For tam tam and sub woofer. (2016)

Dynamic Architecture. For double bass and transducer (2015)

Broken Approach. For bass drum kit. (2014)

Tension Lines. For harp and electronics. (2015)

Fourth Estate. For piano and electronics. (2014)

Signals Directorate. For Bass clarinet and playback. (2014)

Chunk for disklavier and grand piano (with Max Score reader). 7’45”. (2010)

Duo

Shadow. For string duo and sub woofer. (2016)

Great White. For duo and electronics. (2016)

Sub Aerial. For percussion duo. (2015)

The Sinister Glamour of Modernity For viola and piano 8′ (2013)

Kingdom Come, for 2 laptops. 12′ (2008)

Trio

Majority of One. For sustaining trio of instruments and electronic feedback. (2016)

Marking time. For sustaining trio of instruments (2016)

The Lowest Drawer. For Bass drum, bass clarinet, bass flute and electronics. (2013)

Black Disciples. For 3 low voices (2013)

Kuklinski’s Dream for 3 carving knives, three instruments, MaxMSP (with Max Score reader). 8′ (2010)

Electronic

Pulupe Strings Sweet Tribology, Paris, France. (2015)

Feather (co-composed with Stuart James. Commissioned by the Totally Huge New Music Festival, 2015)

Languid Sigh as part of the Transmuted signal project, for Kunst radio, Austria. (2013)

Film

Blight 2017 13 min. Dir. Peron Bonser, St Kilda Film Festival, Sdyney Film Festival. (2017)

Cetaphobia 12 min. Dir. Erin Coates and Anna Nazzari. Revelation Film Festival, Paris Short Film Festival, 2015 Horror Hotel Award. (2015)

Art Calls series Dir. Tracey Moffatt. GOMA, Brisbane, Perth International Art Festival, PICA, Perth and ABC Arts Online. (2014)

Paradise Falls I and II, Paradise Falls, Dir. Kate McMillanVenn Gallery, Perth, WA. (2012)

The Making of The Moment of Disappearance. Dir. Cat Hope. Haynes St Studios. London., (2014)

Discography

Decibel The Complete John Cage Variations. Mode: New York. CD upcoming (2018)

Mongraph CD Ephemeral Rivers. HatHutArt: Switzerland. CD (2017)

The Lowest Drawer, Decibel, on Tuned Darker. Listen|Hear: Perth LP (2015)

Decibel, Still and Moving Lines- The Music of Alvin Lucier, Pogus:New York. CD (2013)

Platinum Fox, on Luminosity: Musical Treasures from UWA. University of WA (AUS). CD.(2013)

Longing on Decibel, Stasis Ecstatic. Heartless Robot Productions, LP. (2014)

Candied Limbs, Sub Project 54, with Lindsay Vickery. Tura Records, CD. (2013)

In The Cut, Kuklinski’s Dream on Decibel, Disintegration: MutatioN. HellosQare Records, CD (2010)

Abe Sada, Redux, Heartless Robot LP. (2009)

Abe Sada, The Low Chord, Kabutsuri Tape International, CD. (2009)

Abe Sada, Tatare Steppe, VLZ Produkt, CD. (2008)

Abe Sada, Subzilla, Bloodstar, (Aus), CD. (2007)

Gata Negra, Ruby, Bloodstar (Aus), LP. (2007)

Lux Mammoth, New Gauge Sinner, Pre Feed label (Italy), CD. (2007)

Installations

Hope, C., Muir, R., (2013, 2016), Sound of Decay. Semipermeable(+), 19th International Symposium on Electronic Art, Sydney, Powerhouse Museum, Sydney and Ghost Biologies, CAST Tasmania.

Hope, C. (2014). The End of Abe Sada. Perth Institute of Contemporary Art.

Hope, C., McMillan, K., (2014), The Moment of Disappearance (installation). Buruwan, Carriageworks, Sydney.

McMillan, K., & Hope, C. (2010). Islands of Incarceration, low frequency soundscape for installation Cockatoo Island, Sydney Biennale, NSW.

McMillan, K., & Hope, C. (2010). Lost, soundscape for photomedia installation. PIAF, John Curtin Gallery, WA.

Hope, C. (2014). Plug. Totally Huge New Music Festival, Perth.

Hope, C. (2005). D.A.C.S. International Symposium of Live Art.

Hope, C. (2003). Unravelled. National Festival of Live Art, Perth

Hope, C. (2001). Homefear. New Directions Festival, Singapore

Hope, C. (2001). Drive. Artrage Festival

Music Curator

Decibel new music ensemble programs (2009 – )

Sound Unbound – Music from Visitors, Spectrum Project Space (2013-2016 )

New Music Network Mini Series (2013)

Drawn From Sound exhibition, Perth & Sydney (2013-14)