Yvette Janine Jackson is a composer and installation artist who was introduced to the world of tape splicing, analog synthesis, and computer music before designing sound for theatre. Building on these experiences, she blends various forms into her own aesthetic of narrative soundscape composition and radio opera. Jackson’s projects often draw from history to examine relevant social issues. Her album Freedom is described as “one of the most unique releases to chronicle the Black American experience” (The Wire). Recent projects include solo modular synth performance for King Britt’s Blacktronika stage at the Big Ears Festival, T-Minus, A Radio Opera commissioned by the International Contemporary Ensemble, Extant, for bass clarinet, cello, and game engine at ZKM Center for Art and Media; Hello, Tomorrow! for orchestra and electronics co-commissioned by American Composers Orchestra and Carnegie Hall; and Left Behind for her Radio Opera Workshop ensemble.
I joined the local volunteer fire department while I lived in the alpine desert. During training sessions, one of the members frequently invoked ‘festina lente’ as a reminder to keep us safe in hazardous situations.
Festina Lente has become an important motto in almost every situation. It emphasizes slowing down to listen and communicate in a world where there is increasing demand for productivity. It is an invitation to be still and engage in healing and restorative dialog rather than react on impulse. This composition is a reflection on temporality – how we navigate the world, interact with others, and listen. Festina Lente is influenced by my interactions with members of Radio Opera Workshop ensemble, including recording sessions with Tommy Babin, Amy Cimini, Judith Hamann, and Jonathan Piper; the composition features modular improvisations, and excerpts of Judith Hamann on cello.