Chris Gendall

Chris Gendall discusses the journey through different phases of life that brought about the development of their identity as a composer. Being raised in Hamilton, moving to Wellington in pre-high school years, studying undergraduate and postgraduate courses at Victoria University, Wellington, and spending significant time in Ithaca, New York, for further studies. Currently serving as the Mozart Fellow at the University of Otago, they explain being originally drawn to composition during high school, spurred by an inspirational itinerant composition teacher and a fascination with the blank-canvas approach of contemporary composers, which pointed to endless sonic possibilities.

Gendall remarks on the intrigue of contemporary compositions, expressing a viewpoint that the absence of boundaries and the potential for anything to emerge is a compelling lure that continues to engage them after almost two decades in the field. They relish the moments of broadened horizons and indicate having renewed appreciation for traditional composers such as Beethoven through the understanding that historic works were once avant-garde explorations in their own right.

Regarding the personal experience of hearing their compositions performed, Gendall describes it as surreal and occasionally terrifying, given their tendency to write complex pieces requiring substantial practice before fruition. The joy of rehearsals, when the synergy between the ensemble's effort and the composition comes together, is highlighted as the peak of musical delight. They mention striving for authenticity in their compositions by delving into meticulousness in capturing the envisioned music.

On the subject of musical inspiration, Gendall details the process of drawing on daily auditory experiences, creating sound transcriptions and orchestrations that resonate with memory and space. They reflect on an emotional connection to aggression in music, implying aggressive elements can be expressive rather than violent, drawing parallels with traditional cultural expressions of greeting that incorporate aggressive aspects.

Additionally, Gendall touches upon the intersection of sexuality and music creation, pondering over the immediacy of its impact on their work. They recognize how the shifting societal attitudes toward the LGBTQ+ community from previous generations to the present influence artistic creation differently and that no direct correlation inherently exists between sexuality and the act of composing.

The interviewer then prompts a discussion about Gendall's relationship with Jack Body, a leading figure in New Zealand's contemporary music sphere. Gendall articulates an affectionate and respectful remembrance of Body, acknowledging the encouragement, professional opportunities, and the sense of community they imparted.

Concluding the interview, Gendall envisions nurturing a sense of community within New Zealand music as part of Jack Body's legacy. They advocate for the expansion and enriching of New Zealand's compositional landscape, recognizing the generational shift brought forth by technology and their role in guiding the upcoming generation of composers.

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Chris Gendall

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