SOLO PROGRAMS

Leach currently offers three structured solo programs: Synthesis, his solo recital; ELISION, an entirely electroacoustic show made up exclusively of new commissions; and Seven Short Stories, a program of percussion theatre. Requests for adjusted programs are welcome, and repertoire is subject to change. Tech specifications available upon request.


SYNTHESIS

solo recital

Synthesis is Leach’s solo recital program, made up of pieces representing the very best of the modern percussion repertoire. The program’s title comes from the combination of different key elements within the show—some contrasting, and some complimentary—which define the performance. Percussion meets theatre, acoustic and electronic sounds come together, and serious art battles comedic shtick in a diverse, exploratory program that keeps the audience engaged from beginning to end.

title of work

Tchik
Mirage
I Leave You the Real World
Le corps à corps
Trilogy or Decay No. 2
Ceci n’est pas une balle

date

2006
1971
2018
1978
2000
2012

composer

Nicolas Martynciow
Yasuo Sueyoshi
David Skidmore
Georges Aperghis
Dave Maric or Matt Curlee
Compagnie Kahlua

instrumentation

snare drum
marimba
vibraphone
hand drum + theatre
large setup
body percussion + theatre

TRILOGY (I. CONCENTRICS)
by dave maric

"Impeccable, musical playing with fire and
passion! Cameron Leach is an emerging
voice in the contemporary percussion
world not to be missed!”

—Dr. Terry Longshore
Professor of Percussion
Southern Oregon University


ELISION

electroacoustic show

ELISION takes the audience on an exhilarating journey through the sonic landscape of electroacoustic percussion music. The performance focuses on the relationship between live and recorded sounds, which interact in different ways to expand the timbral spectrum of acoustic instruments. The electronics take on many roles throughout the program, by working cooperatively with, in opposition to, or completely independent of the performer. This fluctuating duality is precisely what defines the production, presenting twists and turns through moments of musical athleticism, comedy, and repose.

title of work

New commission
I Leave You the Real World
New commission
Ready to Die Etudes #1-3
Decay No. 2
Ceci n’est pas une balle (encore)

date

2019
2018
2019
2019
2017
2012

composer

Vera Stanojevic
David Skidmore
Emmanuel Séjourné
Paul Pinto
Matt Curlee
Compagnie Kahlua

instrumentation

snare drum
vibraphone
marimba
setup + speaking/acting percussionist
large setup
body percussion + theatre

CECI N’EST PAS UNE BALLE
by compagnie kahlua

This wonderful crowd favorite is the closer on each of Leach’s solo programs, depicting the dramatic arrival, ornery antics, and final reveal of an “invisible” bouncy ball. The piece, whose title translates to “This is not a ball,” is sure to get the audience laughing and cheering, particularly those young ones who might be in attendance!


SEVEN SHORT STORIES

percussion theatre show

Seven Short Stories is a collection of seven pieces for speaking/acting percussionist, each making use of text and theatre to communicate different emotions, stories, and ideas. The program represents Leach’s constant desire to push himself as a performer, moving beyond the typical recital format in order to blur the lines between different art forms, resulting in an audience-inclusive show that breaks down the fourth wall.

title of work

New commission
New commission
Familiar
Ready to Die Etudes #1-3
Le corps à corps
New commission
Ceci n’est pas une balle

date

2019
2019
2019
2019
1978
TBA
2012

composer

Linda Kernohan
Reilly Spitzfaden
Alexis C. Lamb
Paul Pinto
Georges Aperghis
TBA
Compagnie Kahlua

instrumentation

small setup
percussionist + speaker instruments
found objects
setup + speaking/acting percussionist
hand drum + theatre
TBA
body percussion + theatre

LE CORPS À CORPS
by georges aperghis

A dark, dramatic work for zarb and speaking/acting percussionist, Le corps à corps is a disjunct narrative depicting a tragic racing accident. Aperghis introduces dummy syllables in the Ouverture, which, through additive rhythmic processes, morph into spoken French. The story is rapidly told during Le recit, but it disappears just as quickly as it came, dissolving once more into fragmented, anxious outbursts in the piece’s final section—La lutte.