In the summer of 2018 I will study various aspects of composition with Martin Arnold in Toronto. I’m excited for this opportunity to work with him and to be active in the Toronto new music community. I’m especially looking forward to helping out with the Toronto Creative Music Lab.
Something Arnold and I plan to focus the study on is the maintenance of an effective balance between work-life, life-life, and music/art-life. This is a topic which I believe hasn’t received the attention it should and is particularly relevant for Canadian artists. I’ll do my best to post any interesting insights and strategies here.
I’ve been seeing a few mentions of performances of pieces I’ve written around the web, so I thought I’d start to collect them here.
“Subsequent composition ) ( by David Riedstra, however, prepared a trio of voices of meditation exercises, a very similar match with the environment, but the interpreters with their toughness managed to get rid of the reality and then the listener could be dazed by a “non-material” floating composition.”
Šimon Kořený and Jakub Španihel for Opera+ on the Czech performance of ] [ by members of Canticum Ostrava (translation courtesy of Google Translate; a different version says the performers “were able to lose their virtues”)
“Dave Riedstra’s Prairie Trails was a virtuoso performance on clarinet by Nathan Friedman–of all the compositions I found it demanded the greatest attention due to the voice-less nature of many of the sounds produced.”
Janis La Couvee on Friedman’s Victoria performance of Prairie Trails (43%)
“…in the case of Nathan Friedman’s, Dave Riedstra’s and Hollas Longton’s pieces, the sound was propagated both via acoustic phenomena and live electronic techniques, where the listeners could barely tell the difference between sound, echo and their imagination.”
Maria Eduarda Mendes Martins on Hollas Longton’s performance of Veils
Friday 6 October 8pm
Church of Truth
111 Superior St James Bay
Experience an increase in the density of our shared medium with the premieres of three works. Sierra Phosy and Emily McDermid open the space with Friedman’s duo for piccolo and trumpet. The full complement of flutes then surround the audience with Friedman’s lush antiphon Efflorescence, a polywork of the composer’s Glaucous for strings and a response to Franz Liszt’s Nuages. Finally, Trio Taco and a guest commune in Riedstra’s –——-––—, a beswitchingly intense work for four people performing “not louder than your breath at rest.”
Trio Taco are Bailey Finley, Sierra Phosy, and Alanna Kazdan (flutes, breath). They are joined by guests Jill Broughton, Jasmine Riseley, and Cooper Reed (“Trio Burrito”, flutes), Syssilia H.E. Reid (breath), and Emily McDermid (trumpet).
This event takes place on the unceded traditional territories of the Songhees and Esquimalt nations.
I’ll be attending the Ostrava Days New & Experimental Music Institute & Festival in the Czech Republic in August. I’m very excited that members of Canticum Ostrava will be performing ] [ at St Wenceslas Church in a program of very interesting works. More information here.
Many of my recent works use a semi-strict framework for improvisation named switchcraft (after the work of Dan Mellamphy and Nandita Biswas-Mellamphy). Performing using this framework requires a great amount of work of the performers. They must memorize the material thoroughly, re-learn to synchronize with the other performers, and then develop this continual re-synchronizing into a convincing musical performance and a unique approach to the piece. The performers must accept the possibility of no matter what eventuality and the simultaneous possibility of acting to create change. They must critically reevaluate their own tendencies while employing virtuosity and doing things in the ordinary way.
The written musical material of ] [ is greatly pared down and somewhat inverted. It is hoped that this presents a listener with a similar opportunity to practice sensitivity, virtuosity, and unlearning.
] [ was first performed by Cathy Fern Lewis, Christopher Reiche, and Dave Riedstra in Victoria, BC, Canada, in June of 2016.
I’m preparing my MacBook for tonight’s performance of Brosin’s Vertices and thought I’d share my checklist.
A quick note: I’ve recently become an associate composer of the Canadian Music Centre. This is very exciting for me and I hope to have some scores available in their library soon. In the meantime, you can visit my CMC profile here.
New compositions for solo bass with electronics, the results of collaboration between performer Dave Riedstra and composers Janet Sit, Annette Brosin, Mitch Renaud, and Nolan Krell. The program explores questions of individuality, location, and the visual, as well as the arenas where and processes through which these notions play out.
$15 ($10 students / seniors / artists)
Monday 22 May 8pm
Church of Truth
111 Superior St James Bay
Janet Sit – Without Asking*
contrabass and electronics
Nolan Krell – (glueing these birds to your arms has been great but I’ve grown to hate you.)
Mitch Renaud – Resonance | Sites*
contrabass and sine tones
Annette Brosin – Vertices*
electric bass and electronics
Dave Riedstra – contrabass, electric bass
Thanks to the University of Victoria Alumni Association for supporting this project.
I use open titles for a number of scores I’ve written. By open titles I mean titles which may be given differently in each usage. For instance, the title of the sextet I wrote to complete my MMus at UVic may be rendered ❙▲●▬■ or ●▲■▬❙ or ▲●❙■▬, or any other non-repetitive combination of those glyphs. In general though, the titles allow for repetition of elements, as in °0ºOoºoO00°oO°º°Oº or –—–—-–—–—–. ] [ uses square brackets to delimit mixed typographic white spaces, and ∥∥∥‖‖ǀ∥∥∥∣‖∥∥‖‖∥∥∣‖∥‖‖∥∥∥‖‖‖∣∥∥∥∣‖∥∣∥‖‖ǀ∥ǁ∥∥∥∥∣∥∥‖ tends to be on the longer side.
The usage of open titles was at first a simple imitation of the switchcraft open form technique I’ve been calling for in a number of my scores. To perform this technique, performers are asked to memorize some material, start at any point within it, and improvise switches to any other point within it. When anyone in the ensemble makes a switch, the other players must follow with them, attempting to always be performing a full system of material in time with each other. There are a number of things I really like about this technique, the description of which I’ll save for another article. Until then, I’ll just say that I borrow the term “switchcraft” from the brilliant researchers Nandita Biswas-Mellamphy and Dan Mellamphy, and there’s a paper of mine on switchcraft and other aspects of ❙▬■●▲ available on Academia.edu.
The jump from mobile musical sections to open titles was simple to make, but interesting linguistic effects have resulted. Since these titles are cumbersome to pronounce, they’re often elided or implied in verbal discussion of a score or performance. (A common question I get at performances is how to pronounce a piece’s title.) For example, instead of saying “lateral click lateral click parallel double vertical line lateral click dental click lateral click divides parallel parallel divides parallel double vertical line” (the full verbalization of ǁǁ∥‖ǁǀǁ∣∥∥∣∥‖), I’m more likely to say “the electric bass duet” or “the piece Annette and I performed at Woodstockhausen.” The effect of this for me is that it removes the semiotic baggage of the words used in the title from my recollection of the piece. As a comparison, consider the title of the score I wrote for any two like-timbred, four-or-more stringed instruments: Breach. The word is simple, monolithic, possibly even staunch, and bears particular ties to China Mieville’s the City & the City, where it was a “force to be reckoned with.” These colouring attributes are in place by authorial design: the choice of title was influenced by my desire for the piece’s performance to be remembered with and influenced by those affects. Conversely, by referring to a piece obliquely, one must call up details by which the name-users can identify the piece.
What I really like about what’s happened around some of my titles is the presentation of this opportunity to think about what we use to identify the piece, and then (in instances like this) to think about how we thought about that identification. It’s commonly discussed among musicians who I work with that in the Western art music practice a piece is synonymous with its score and effectively “belongs” to that score’s author. This perspective comes with its share of essentialization and it undervalues the work of performers, nevermind that it doesn’t actually say anything about the performance of the music. These faults become clear, for example, if I refer to ] [ as “my voice trio.” Hopefully, I’ll remember to use something more appropriate to a musical performance, something like “that time Cathy, Chris, and I un-sang the same pitch for like ten minutes.”