About Me —
As a composer and music curator I build time-based structures in sound.
I construct frames as well as things to fill them: I am interested in creating a context for listeners to hear things they haven’t experienced before. My work is motivated by the experience of attending to the world ears-first. Listening, as my primary sense, leads to an openness and curiosity that characterizes aural space, not just to what is in front of me but also to my surrounding environment. Collaboration is also at the heart of my practice – most of my work reaches a public through performers, and I have had the great experience of working with some of our country’s finest - both as performers of my compositions and in my practice of artistic curation. These collaborative experiences extend to the various publics who care to listen. My key goal is the search for "resonance": how the sounds and actions I initiate interact with the environment in which they are received – what is more important than other the sounds/actions or environment is where this interaction is fruitful.
I have explored an open, aural approach to social space both in my work as a composer and as an artistic director of new music and sound events. In 1985 I established Kitchener-Waterloo based NUMUS Concerts, and in 1998 the Open Ears Festival of Music and Sound. In 2012 I worked as a music curator at the Perimeter Institute of Theoretical Physics, inspired by some of the world’s most respected theoretical physicists.
I have incorporated theatrical and multi-media elements into many of my works, an interest that has grown from extending traditional concert music performance practices and from collaborations with director David McMurray Smith, architect Dereck Revington, theatre artists Andy Houston and Paul Cegys, and choreographers David Earle and Bill James. In my concert work I have explored the idea of instrumental theatre, in which the theatre inherent in the performing rituals of the post-classical music world is enhanced through simple extensions.
I am fascinated by our experience of time, and of music’s ability to shape this experience. My obsession over musical form has me frequently using golden section relationships with proportional durations but also drawing inspiration from other sources, such as the I Ching. I have a long-term fascination with the writing of Gertrude Stein, whose concept of the ‘continuous present’ is an on-going inspiration to me. Stein's “space of time filled with moving” is, for me, a very accurate description of the musical experience.
I use a Pentel Sharp Kerry Mechanical Pencil, 0.5mm, with a 2B lead in custom made sketch-books of my own design, to create the blobs and strokes of musical notation that will be translated by others to present to an audience.
Composer and music curator Peter Hatch has composed works in a large number of genres, from orchestral and chamber music to instrumental theatre, electroacoustics and installations. Known for his interest in revitalizing the listening experience, Hatch's compositions are both heady and playful, profound and humorous. His works are performed and broadcast internationally and has been featured at festivals such as the ISCM World Music Days, the Darmstadt Ferienkurse fur Neue Musik, Montreal's Espaces Improbable, the Vancouver New Music Festival, the Vancouver Early Music Festival, and by organizations such as Aventa, Soundstreams, Arraymusic, the Winnipeg, Vancouver, Edmonton, Windsor, Victoria and Kitchener-Waterloo Symphonies and by members of the Berlin Philharmonic. Hatch's music been recorded on numerous compact discs under the CBC Musica Viva, CMC Centrediscs, Conaccord, CBC and Artifact labels.
Theatrical and multi-media elements have been incorporated into many of his works, an interest that has grown from extending traditional concert music performance practices and from collaborations with director David McMurray Smith, architect Dereck Revington, choreographers David Earle and Bill James and writers John Sobol and Adam Cowart. The writings of Gertrude Stein have played an important role in his compositions and this influence has resulted in compositions ranging from the full evening instrumental theatre piece 'Mounting Picasso' to his very short opera 'Asks Alice'.
As well as his compositional work, Peter has been very active as the artistic director of new music ensembles and festivals. He founded NUMUS Concerts in 1985, and the Open Ears Festival of Music and Sound in 1998, two organizations that have continued to thrive years after their beginnings. Peter was Composer-in-Residence with the Kitchener-Waterloo Symphony from 1999-2003 and Arts and Culture Consultant with the Perimeter Institute for Theoretical Physics from 2011 to 2013. From 1985 to 2017 Peter was a Professor at the Faculty of Music, Wilfrid Laurier University, where he was University Research Professor for the 2006-07 academic year and is now Professor Emeritus. Peter now makes his home in the Gulf Islands on the west coast of Canada.
Composer and music curator Peter Hatch has composed works in a large number of genres, from orchestral and chamber music to instrumental theatre, electroacoustics and installations. Hatch's compositions are both heady and playful, profound and humorous. Peter has been very active as the artistic director of new music ensembles and festivals. He founded NUMUS Concerts and the Open Ears Festival of Music and Sound, served as Composer-in-Residence with the Kitchener-Waterloo Symphony and as Arts and Culture Consultant with the Perimeter Institute for Theoretical Physics. Peter is Professor Emeritus at the Faculty of Music, Wilfrid Laurier University, where he was Professor from 1985 to 2017.
You can contact me at:
You will not find me on social media but I will respond to emails.
Scores, parts, and recordings of my music are available at:
You can find my music on:
'Boy and Moose'
by Kevin Hatch (age 4-ish)
This website was created using Wix with the able assistance of Max Magnanensi. You can contact Max at maximilianmagnanensi[at]gmail.com