Victoria Composers Collective
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.