Category Archives: Performing

Rejection letter

Rejection letter came today, so it goes.

Project Title (maximum 15 words)

10 String Quartets and An Accordion Walk Into a Bar

TOTAL AMOUNT you are requesting from the OAC

$15,220.00

Tell us about your (or your group’s) overall artistic work, history and achievements. What is important to you in your work (cultural influences, your identity, geography, community, language, etc.) and why? If you identify with one or more of OAC’s priority groups, or if your ad hoc group/collective or organization is mandated to serve one or more of OAC’s priority groups, you may choose to refer to this here. (Maximum 300 words)

My overall artistic work is lengthy the details better understood by reviewing my Wikipedia [https://en.wikipedia.org/wiki/Bob_Wiseman] but pertaining to here and now my capacity to realize classical compositions has not yet been achieved with real people only with sampled instruments. I’ve won Junos, Geminis and Lifetime achievement awards but the greater reward would be realizing the work and this body of compositions feels like a novel I’ve spent a lifetime trying to finish and publish. What’s important to me in my work is authenticity and blending modern with old – dissonant with melodic and the age old question why is something considered beautiful that someone else considers ugly?

What are you planning to do, and what do you want to achieve with this project? (Maximum 425 words)

I want to rehearse and record these 10 pieces with the 4 members of the MSQ and later invite film colleagues to create cinematic interpretations before organizing a national tour. Through this we would achieve making a powerful performance of sight and sound that inspires awe as well as musical appreciation. In theory each piece ranges between 3 to 9 minutes – the durations might change in rehearsal.

HOW will this project contribute to your development? (maximum 200 words)

These pieces are done with a computer utilizing samples but ultimately that’s artificial. Many hopeful composers are impeded from realizing their goals due to economic realities and nothing can facilitate achieving the real target like real people, real rehearsal and real performance.

Listening

Listening is a big deal, obvious yet listening to each other is rare. If I start to imitate anyone in the band, in a subtle way, like what the drummer is doing on the ride, or the rhythm of the bass player – they will start to jerk their heads like dogs trying to pin point the whereabouts of a hiding bird. When they locate who’s doing it (me) they smile because we will have this in common now.
 
With singers it’s the same but opposite. It’s not playing where they are singing.  Singer’s realize you gave them room to be heard or another way, showing how good you can play during most of their part ruins their space and they hear how you’re listening only to yourself.