In this episode you’ll hear

Composer: Lindsay Vickery
Website:  www.lindsayvickery.com

Interviewed by: Rebecca Erin Smith
Website: RebeccaErinSmith.com

This conversation was recorded on the 22nd of November, 2016.

Show Notes

“Part of the reason for just continuing to make stuff I suppose is also a sort of hope that other people will be doing that; creating a layer on the planet of stuff that people were making and thinking about.”

Lindsay Vickery is a composer, performer, and music researcher. His music explores collage, fractal structuring, and improvisation, in the context of interactive electronic works, and chamber music (phew!). This widely travelled composer speaks about his research into non-linearity through digital notation, wagging school sport to hang out in the music department, and what it’s like to write an opera. We tackle the tricky questions like what really is “new music” and what role does it play in our society? Why is the Australian composition community booming despite cuts to arts funding? Hear one of Australia’s best exports weigh in on the hot issues of today.

Music in this Episode

Savoy Trifle
Composed by Lindsay Vickery
Performed by Lindsay Vickery – Alto Saxophone, Iain Grandage – Cello, Cathie Travers – Piano and Paul Tanner – Percussion.

In Nomine Tenebris
Composed by Lindsay Vickery
Performed by Cat Hope – Flute, Lindsay Vickery – Clarinet, Aaron Wyatt – Viola, Tristen Parr – Cello, Louise Devenish – Percussion and Stuart James Electronics.

Invisible Symmetries
Composed by Lindsay Vickery
For Magnetic Pig

Rendez-vous: an Opera Noir
Composed by Lindsay Vickery

Kuroinami
Composed by Lindsay Vickery
For Decibel with Mitsuaki Matsumoto

Detritus
Composed by Lindsay Vickery
Performed by Lindsay Vickery (bass clarinet), Erik Griswold (prepared piano), and Vanessa Tomlinson (percussion)

Agilus, Mimoid, Symmetriad
Composed by Lindsay Vickery
For Cat Hope – Flute, Lindsay Vickery – Clarinet, Aaron Wyatt – Viola, Tristen Parr – Cello, Stuart James – Piano and Josh Hogan – Electronics.

The music you heard in the opening and closing credits is:
I/O (2014), by Eli Simic-Prosic
For diskclavier, recorded by the composer.
Used with permission.
https://soundcloud.com/eli-simic-prosic

Production Credits

The Making Conversation: Australian Composers’ Podcast is brought to you by Making Waves.
This episode was recorded and produced by: Rebecca Erin Smith
Audio consultant: Daniel Thorpe
Mixing and Mastering: Thomas Green
Executive Producers: Lisa Cheney & Peggy Polias Making Waves

With Thanks

The Making Conversation Podcast has been made possible with the generous support of:

Project Patron: Cameron Lam of Kammerklang

Production Donors: Kieren Paynter, Nigel Poole, PLEXUS, Callum Moncrieff, Constance Barberakis, David John Lang, Christopher Gordon, Anne Gill, Brian Howard, Caroline Thompson, Leah Barclay and Jocelyn Wolfe and all who contributed to the successful crowdfunding campaign

Making Conversation is supported by Creative Partnerships Australia through MATCH.