Victoria Composers Collective
Victoria Composers Collective members Maria Eduarda Mendes Martins and Alex Jang gather repertoire from the 14th – 21st centuries, delivered in completely new and contemporary formats. Utilizing percussion, voice, acoustic/electric guitars, and electronics, Martins and Jang perform pieces by J.S. Bach, Giulio Caccini, anonymous chants from 14th Century codexes and Sephardic literature, as well as a brand new piece written by VCC composer Nathan Friedman (as a wedding gift to Martins and Jang). This performance includes the special participation of Nolan Krell in the electric guitars and Nathan Friedman operating the electronics! We hope to see you there, and to share this experience with all our friends and community!
When: Thursday February 13th 2020, 7:00 PM
Where: Church of Truth, 111 Superior St., Victoria B.C. V8V 1T2
Cost: $20.00 at door; $15.00 in advance (Brown Paper Tickets)
*Refreshments will be served after the performance;
WoodStockhausen is an annual event happening in Victoria, Canadian West Coast, which presents experimental/avant-garde music played by a rock band setting in a night club environment.
Differently from performances in concert halls, in this event, audiences may choose to either have that experimental music as a background for their rendez-vous, or to watch it and see what is going to happen while they enjoy their drinks.
Mixing the concepts of music from the Woodstock festival, and of Karlheinz Stockhausen’s aesthetic ideas, WoodStockhausen 2018 brings music by the United States’ groundbreaking composer John Cage, Canadian/Italian composer Giorgio Magnanensi, local composers on the West Coast of Canada and abroad!
This event will be hosted by the wonderful Copper Owl, in Victoria B.C. Cover charge will be of $ 15.00 at the door, $ 10.00 in advance, and this is a 19+ event (not for minors).
Maria Eduarda Mendes Martins and the Victoria Composers Collective are launching a new concert series to celebrate diverse generations of Canadian classical music.
The 2017 edition of this concert series will feature composers who are born or based in British Columbia, including pieces by Rudolf Komorous, Sylvia Rickard, Christopher Butterfield, Jocelyn Morlock, and emerging composers from Victoria and Vancouver.
The project envisions the performance of music by Canadian classical composers from each province and territory of Canada per edition, in which pieces may be selected either through personal invitations or through calls-for-scores/proposals.
As a new project taking shape, the Generations of Canadian Music concert promises to be a way to promote classical music made in Canada, as well as to highlight music by living composers for local audiences on the West Coast. We are looking forward to seeing how this project will impact our community, and how it will connect with the diverse artistic communities throughout Canada.
Victoria Composers Collective, Oak Bay Music, and special guests present
Generations of Canadian Music: BC Composers
solos, duos and trios by Rudolf Komorous, Christopher Butterfield, Sylvia Rickard, Jocelyn Morlock, and more
Sat Nov 18 2017, St Mary’s Anglican Church
1701 Elgin Rd, Victoria BC
Victoria Composers Collective is launching a new Indiegogo campaign for the summer projects and coming season (2017-2018).
We deeply appreciate and thank you for your past contributions, and we invite you to have a read about goals, prizes, and which projects will be fostered by the funds we receive in the coming months.
On Friday, the Victoria Composers Collective will present Why Can’t Minimal: Do This?, a concert of new works that explores minimalism in music. Inspired by John G. Hampton’s exhibition Why Can’t Minimal, the Victoria Composers Collective has carefully crafted compositions that reflect upon minimalism in music and respond to artworks included in the exhibition.
The program includes premieres by Lynne Penhale, Alex Jang, Hollas Longton, Dave Riedstra, Maria Eduarda Mendes Martins, and Nathan Friedman.
Read about the concert in the Times Colonist.
Tickets are $16 in advance, $20 at the door, or $11 for students/seniors/Open Space members. See the Open Space website for more information or to buy online.
An evening of contemporary classical music, featuring new music composed and performed by local artists from Vancouver Island. This program features exciting works for strings, voice, solo piano, and bluegrass ensemble, and includes several world premieres. Tickets are $10 at the door or online.
Program details to come soon – check back here or the event’s Facebook page.
The Victoria Composers Collective, Open Space and Oak Bay Music are pleased to present their second annual collaboration as part of the Oak Bay New Music Festival on Feb. 13 at St. Mary’s Anglican Church, 1701 Elgin Road, Oak Bay.
The first two “I ♥ Composers” concerts, at 1pm and 5pm feature works from the Victoria Composers Collective. The final concert “Do: Come so we may see” at 7:30pm features Cathy Fern Lewis and Christopher Reiche. The artist talk at 3pm (between the first two concerts) will be presented by guest musician Cléo Palacio-Quintin from Montreal.
solstice, tomatillo, by Julio Lopezhiler
La ſelle d’ærain (selections), by Nathan Friedman
Stella Splendens, by Maria Eduarda Mendes Martins
Sea Saw, by Lynne Penhale
Landscape with Train Whistle, by Hollas Longton
Chansons pour l’Hiver, by Natalie Dzbik
lake or fog, by Alex Jang
Some of them were superstitious, by Nolan Krell
On Agnes Martin, by Kimberley Manerikar
Six Songs, by Justin Boechler
We are currently hanging out in Kamloops catching up on some work and recharging after all of the rehearsals and planning we did before leaving Victoria. We had a successful first concert in Victoria on June 26th after which we packed up the Toyota Matrix as full as we could. Lynne, Maria, and Chris left Victoria early Sunday morning and that afternoon met up with Nathan and Dave who arrived via Greyhound. The drive was stunning: changing landscapes and mountains. We were met by Jill in Hope who showed us the Hope United Church. After getting settled and rehearsing a bit we performed our music to a warm and welcoming audience. It was such a great time! One audience member particularly enjoyed our music and sonic explorations and remarked “it was like being a kid in a candy store.” Monday we packed up the car again and this time Nathan, and Maria took the Greyhound to Kamloops. We will be taking in the Canada day fireworks here although nature gave us a spectacular thunder and lightning show Monday night. Next concert: 100 Mile House on July 2nd.
– Christopher Reiche
On Saturday May 23, at 7 p.m. the Victoria Composers Collective will present glassclothwoodmetal & other materials as a part of Open Space’s Guest House series. glassclothwoodmetal & other materials is a showcase of recent works for voice by a selection of young and emerging Canadian composers curated by composer Janet Sit. This concert is a great introduction to Canadian and contemporary new music. The concert will include recent compositions by Dave Riedstra, Janet Sit, Lynne Penhale, Nolan Krell, Nathan Friedman, Alex Jang, Maria Eduarda Martins, Kim Shepherd, and Liam Gibson.
In the words of the Victoria Composers Collective: “glassclothwoodmetal & other materials presents a diversity of sounds possibly related only by the resonating bodies [the instruments and singers] in which they find themselves.” Come and discover the possibilities of the human voice in survey of vocal works by the up-and-coming composers in Victoria.
Admission by donation. (Suggested Donation $10)
Sound Communion – Maria Eduarda Martins
O tu, che porti nelli occhi sovente – Liam Gibson
Emruz (امروز) – Janet Sit
Hmm – Lynne Penhale
6! x 4^6 x 21 – Nolan Krell
——–— – Dave Riedstra
momentary encounters (3) – Alex Jang
Four Domestics – Nathan Friedman
Firm Resolve – Kimberley Shepherd
The audience were mostly performers, and most performers were composers also. Between performances, the composers would introduce their compositions, ready themselves for performances or sit in a pew briefly and listen to other performers. It was a small audience—but a large audience in that they were mostly performers and composers. They disseminated a spirit of appreciation and insight into every piece performed. Even the event’s organizer, Erik Abbink, and myself were also performers—and so you couldn’t ask for more conviction and compassion to hold up each piece of music. Anyone who was not a performer or composer, though I have no way of knowing for sure, looked like the most intimate of family. We were all as an audience anticipating any performance eagerly. We were enveloped and invested in what we heard as a unit. Any of my attempts to represent the music in writing would be stupid, but I can say the various temperaments of sound made by a piano, a clarinet, sheets of paper, and human voices was unlikely and difficult not to like. The sounds I heard were often soft or made me feel soft. The imminent presence of St. Mary’s pipe organ was appropriate only in its immenseness. The sun went behind some clouds and then came out again.