Why Can't Minimal: Do This?

Photographer: 
Aaron Licht. Compilation: Chris Reiche.
Why Can't Minimal: Do This?
Location: 
Open Space, 510 Fort Street, 2nd floor
Dates: 
Friday, September 30, 2016, 8:00 pm
Admission-Long: 

 $16 General, $11 Students/Seniors/Members in advance. 

Advance tickets at: DoThis.bpt.me

$20 General, $11 Students/Seniors/Members at the door.

Description: 

On Friday September 30 at 8:00 p.m. the Victoria Composers Collective will come together to 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 Victoria Composers Collective has been very active locally in recent years presenting a diverse range of new music. In June and July of 2015 they toured a concert of experimental and new music on tour through the interior. Earlier this year they presented a concert of new compositions for rock band.

 

Continuing in their trend of exciting and engaging concerts, Why Can't Minimal: Do This? will include new works by David Reidstra, Alex Jang, Hollas Longton, Maria Eduarda Mendes Martins, Nathan Friedman, and Lynne Penhale.

Reflective Statements_2: 

The Victoria Composers Collective—known for its artistic versatility and variety—embarked in a new and bold project: a 2 hours concert featuring exclusively minimalism-inspired music. 
 
The collective’s first idea was to use the space of the exhibition (Why Can’t Minimal), creating some connection with the art work around us, and the result was a great involvement between artists and the audience. The first piece—Bottle Piece # 2, by Lynne Penhale—featured six performers sitting in a full circle across the audience, which gave them the pleasant experience of performing music and being able to watch one another at all times, and which also gave the audience the fun experience of seeing the scores and the music being made. 
 
As the minimalist aesthetics suggest, some featured pieces could have been challengingly long (such as Maria Eduarda Mendes Martins’ solo vocal piece,Vida), but they were also very clear about their aesthetic purposes, which completely excluded—for the audience’s ears—feelings of tiredness and boredom (commonly expressed by non-experienced listeners). Besides the aesthetic conviction, the pursuit for details, present in every piece performed in the program, was so true and heartfelt by the composers, that the audience could perceive life in each piece of music, despite of their apparent lack of movement.
 
In pieces such as Alex Jang’s The Keeper of Sheep, a listener would see very distinct instruments being played at the same time (double bass, toy piano and soprano voice) but they would not be able to distinguish who was playing what, when; and 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.  
 
 
-written by Maria Eduarda Mendes Martins   
 
~
Personal reflection poem
by Lynne Penhale  
 
"On: Why Can't Minimalism: Do This?"  
 
An art gallery mirrors famous minimalist art pieces
Endearingly and satirically so 
A group of composers mirror this minimalism in music  
Interacting....  
Some art  is painfully simple
Some art is hilariously straightforward
Some art empties the notion of art