Documentary: Inside Choir Practice
VSO New Music Festival - Composer Interviews
Interview with Thierry Tidrow
"I was pushed around when I was in junior high, got into a few fights, and it was a very challenging time for me. I was also unfortunately a bully in a few instances as well. The mob mentailty, as depicted very accurately in the opera, really drives this kind of participation..."
On November 15th, the Vancouver-based NOVO ensemble held a concert of six works (four world premiers) by Canadian composers Jordan Nobles, Michael Oesterle, James Maxwell, Luc Martin, Nicolas Gonzalez Thomas, and Owen Underhill ...
First, I hear the piano emanating rippling tones. The notes are near each other in pitch and gently push their way into my ears. One note remains constant: it is a pulsing drone. The pitches surrounding this centering note breathe life into it, making it come more alive for me ..
For the past 20 years, Véronique Lacroix and the Ensemble Contemporain de Montréal have been leading the way in cultivating and celebrating the talents of young Canadian composers through their bi-annual Génération Project. This year was no exception and it highlighted the skill of four young Canadian composers at the beginnings of their careers ...
Held on October 29th at Heritage Hall, First World Anxieties, the 6th and final installation of Music on Main’s ambitiously programmed and remarkably diverse Modulus Festival, carried with it from its very title the promise of a provocative evening of new music ...
The Receding Edge (by Bill Young)
At the Edge of Wilderness is a collaboration between composer Hildegard Westerkamp and photographer Florence Debeugny commissioned by the Western Front in 2000, but in the intervening 14 years the work has arguably become more relevant. The work situates us within the artists’ impression of BC’s late 19th and early 20th century ghost towns. It balances the destruction of wilderness with the beauty in nature's reclamation of those spaces. It shows the cavalier attitudes of those that built and abandoned these once burgeoning industrial operations and settlements. It explores themes of ecological disruption, deterioration, and the imagined memory; themes that have an enriched relevance under the auspices of continued, unsustainable resource development. Canadian society is confronting existential issues highlighted by ongoing and increasing resource extraction such as leading the world in the deforestation of untouched forests, the development of the tar sands in an age of increasing climate change, and the Mount Polley mine disaster. At the Edge of Wilderness forces the audience to question this settler mentality that still persists 150 years after the building of some of these ghost towns.
(by James O'Callaghan)
I’m a composer engaged in what sometimes seems like two different practices. On one hand, I write acoustic music, with its embedded traditions in the Western classical world, from which its instruments are inherited. On the other, I write electroacoustic music, where sounds are divorced from their physical origins. However, there are many ways these traditions can interact, and my musical thinking frequently takes the form of a conversation between them.