For our fifth episode Maren will be talking with Katerina Gimon, who hailed originally from that distant place known as Burlington, Ontario, before coming to Vancouver to pursue, among other things, the venerable art of choral writing.
The future of maestro-ing being as shrouded as ever, near-unlimited versatility has become the order of the day for more than a few determined soundmakers. In Gimon’s case that means performing as both a classical singer and a singer-songwriter, in addition to more standard score-based composition pursuits. In recent work Katerina has also begun exploring the possibilities of composing staged actions going beyond those old-fangled ones designed just to produce ‘sound’. Thus, the turn down the murky path to theatre will surely resurface this Thursday, as, perhaps, will that existential dilemma: what will the composers of the future find ourselves doing?
Thursday’s show will see a very new topic for Re:Composition as we venture into the domain of musical theatre with our friend Barbara Adler.
Adler started out as a poet and spoken word artist before turning to singing, songwriting, and, eventually, theatre. Now we find her on the verge of realizing her biggest project yet: a full-length musical entitled Klasika, all about the practice – little known in Canada – of Czech tramping, which, as it turns out, involves a lot of pretending to be an American cowboy. So we’ll be hearing some (pretend) cowboy music, and hopefully, some stories to help make sense of it, as a few simple songs turn out to be anything but.
Janet Danielson is a mainstay of the Vancouver new-music community. Her works range across every contemporary classical genre from opera to chamber and solo pieces. They also follow a trajectory unusual among living composers, in that Danielson has made her most radical music relatively recently, spurred in part by an interest in writing for traditional Chinese instruments. Many of the city’s youngest generation of composers have encountered Danielson’s pedagogy as a result of her regular teaching gig at Simon Fraser University, and we hope that, after Thursday, you too will have some familiarity with her music, as well as the intricate theories and philosophies she brings to bear on the process of making it.
The world of Canadian concert-music is not large, and Janet Danielson is embedded in a substantial part of its history. At this point in the show, we hope it’s beginning to be possible to listen for lines of influence among the guests and music we’re airing. The themes of modernism, antimodernism, historicity, intercultural dialogue and even appropriation that this music brings up are enormous topics, and on Thursday we will begin to address them with the help of one of the most knowledgable guides around.
Our second episode is online! In this episode we talk with guest Chris Anderson about interdisciplinary performance, generative music, Brian Eno, indeterminacy, and the element of failure, among other topics. The show also includes a piece of music generated live from Chris’ laptop. You can listen to it here on the Vancouver Co-op Radio Archives.
Chris Anderson composes music – and so does his computer. Anderson is a metacreator, a programmer of software capable of composing and producing entire pieces of music. He’s also a trombonist. Nowadays, his eclectic and technology-oriented interests see elements of dance music and ambient electronica blend with concert performance. That technological attitude also brings with it a distinct visual aesthetic. Dramatic use of lighting and projection-mapping contribute to a visually and auditorily immersive performance style – which we’ll do our best to convey over the airwaves when Maren interviews Chris on Thursday, October 8th at 10:00AM PST.