It Was A Beautiful Time Machine

Photo by Greg Locke

By Carolyn Chong

I try to bring my 6 ½ year old to as many live performances as I can. What better way to take your listening senses to new levels than experiencing live music. I think it’s important for kids to have these opportunities, too. I admit, it doesn’t always make for the most relaxing concert-going experience for me, but with an arsenal of snacks, crayons, books, etc., I cross my fingers and hope for the best. My little concert buddy has accompanied me to a handful of Sound Symposium events this year and I’m so glad last night’s concert was one of them.

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The Rooms Ringing With The Sounds Of ‘Cinquanta’

Photos by Greg Locke

By Teresa Connors

As one of the players for this Sound Symposium XIX premiere, I’m in the unique position of having been a musical “comrade in arms” in Vancouver when Nobles first began to experiment with spatial music. During those early days, many works were scored and performed at unique locations throughout Vancouver – such as the Vancouver Aquarium.

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Let’s Get Weird. A Dada Experience With ‘Entr’Acte’

Duane Andrews with the Earheart Ensemble (Photo: Sean Jessome Photography)

It’s 1924. You have tickets to the Ballets Suédois production of Relâche at the Théâtre des Champs-Élysées in Paris. It’s a new ballet by avant-garde artist Francis Picabia, with choreography by Jean Börlin. It’s shocking and bawdy. Erik Satie’s musical score adds to the irreverence, pulling from popular tunes and “raunchy army songs.”

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I’ll Think About Sound A Little Differently After This

Photos by Colette Phillips

By Katie Thompson

I’ll preface by saying that I’m not a musician. I pride myself on knowing how to play the Star Wars theme song on the piano as a party trick, but that is pretty much the extent. I’ll also admit that I knew very little of the Sound Symposium until recently, even though they are their nineteenth year.

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From The Sublime To The Ridiculous, And Back Again

Clockwise, from upper right: Payton MacDonald, Rokkur with local knitters, Payton MacDonald with a volunteer from the audience, and Sarah Albu of Rokkur. (Photos: Greg Locke)

By Sarah Gordon

My favourite forms of experimental art are those that walk the line between the sublime and the ridiculous, that make me laugh or squint or cringe in the moment but have me reflecting on them after the fact, taking note of the nuances too subtle to register in the moment. With that in mind, this night at the Sound Symposium was the night for me.

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A United Tapestry Of Sound

Jing Xia (top) plays a guzheng, while the Atlantic String Quartet all play the cello.

By Reinhard Reitzenstein

The Atlantic String Quartet began the evening offerings with a work by Andrew Staniland. For these two listeners it was a vibrant and virtuosic development of Kepler’s music of the spheres. Lots of fast lines and fast string acrobatics with some humorous staging. It was European through and through.

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