Let’s start off by talking about your musical background. Can you speak to what your “walk of life” has been thus far, and how you feel it has impacted the music you create? 

I took piano lessons as a kid, and later in my teenage years, I explored other genres, playing in jazz bands and accompanying school choirs. I remember getting a laptop for my 17th birthday. My dad helped me get a version of Logic Pro, and that was how I was introduced to music production. At first, I only produced mock-ups of songs for music theatre kids at my school, but looking back, that’s where my interest in composition was really established.

I always loved discovering music – I’d download entire soundtracks onto my iPod to listen to throughout the day, even in class. I remember listening to the score for Life of Pi during French class (which explains why I’m so bad at French.) I knew that I loved listening to music, but it hadn’t occurred to me that I could write music as well. And when I started producing, even just hearing the Logic stock sounds (which are pretty darn good!) opened my eyes to the possibilities of composing, blending my love of listening with creating my own music.

I knew that I wanted to score music for film, so I decided to study at the University of Toronto (UofT), where I was determined to learn as much as I could about music composition. My first year was a bit of a rude awakening – I realized that I had a lot to learn and that it was a long road ahead. I went on to get my Bachelor’s and Master’s degrees in composition from UofT. The experience was incredibly rewarding, and I have my mentors and the people I met along the way to thank for that. 

You’ve composed music across the gamut – working with chamber ensembles and choral groups throughout the concert music world, but you also score for the screen and release artist-project works (such as your recent EP release for piano, Reflections, which I personally find beautifully crafted). As far as creating music for these mediums, do you have a preference?

Thank you! While I was studying composition, there was a brief moment where my intention to score for film was dormant and I decided to focus solely on writing concert music. I’m not entirely sure why, though I think it was the influence of being immersed in an academic setting. I remember playing one piece I’d produced for a composition professor, who essentially told me to set that aside until I’d mastered the fundamentals of composition. That sort of got in my head, so I shifted my focus for a bit, which I do think was an important part of my development as a composer. At some point, I found my way back to music production and scoring for visual media, though at first, I considered these my passion projects, to exist purely outside of academic pursuits. It’s taken me a long time to realize that these worlds don’t need to be kept separate. Music is about expression, and it’s a universal language. My preference is to create music that hopefully connects with people, whatever the medium.

What does your creative process look like on a day-to-day basis? Do you find that your process shifts based on the type of project you are working on, or that it remains fairly consistent? 

It can vary, depending on the project. For commissions, I like to conduct my research first, where I collect as much information as I can about the ensemble, theme of the concert (if there is a specific programme I’m contributing to), artwork, poems, texts, and/or pieces of music that may serve as inspiration. Similarly, when I’m working on a film or other visual media, I prepare by reading scripts, looking at stills from the film, colour palettes, listening to music playlists/reference tracks, and anything that helps me to understand what the director is envisioning. Of course, preparation can only take you so far, and if there’s a tight deadline, sometimes you have to jump in headfirst. That can be effective because there’s less time to overthink, but it can also be a bit of a scramble. There’s a certain amount of flexibility that’s needed in collaborations, but so long as I’m working on a project I believe in, I’m always motivated to do my best. 

How would you describe your overall music style? Where do you draw inspiration from when creating music?

I’d probably say the music I write is contemplative, minimal, melody-driven, and melancholic. I try to establish musical ideas that can be built upon and grow organically. I’m drawn to the sacred and the spiritual, specifically the ways in which they connect to nature, and am inspired by mythology, folk tales, literature, artwork, poetry, film, and of course, music.

Has there been a particular standout project of yours that you feel especially connected with? What have been some of your personal highlights as a composer? 

A project that stands out for me is Coin Slot (2022), a short film written and directed by Scott Jones. I had the opportunity to compose music for the score, and it was such a rewarding experience. In the film, a young man (portrayed by Scott), struggles to keep it together as the anniversary of a traumatic attack looms ever closer. Contributing to Coin Slot was incredibly significant as it allowed me to use my musical abilities to enhance a project promoting empathy and societal change, and it was truly an honour to be part of a film that tells a powerful story and serves as a catalyst for greater awareness and inclusion for individuals with disabilities.

Some of the personal highlights in my career thus far have been getting featured on CBC’s “30 hot Canadian Classical Musicians under 30” list, having my music highlighted in a promotional video by Team Canada leading up to the Beijing 2022 Games, getting published by Cypress Choral Music, winning the Edwin Fissinger Choral Composition Prize, and most recently, being awarded the 2024 Diane Loomer Award in Composition for my piece, “When Music Sounds.” I had the privilege of visiting Montreal in May to hear it performed live by the 2024 National Youth Choir of Canada, conducted by the immensely talented Roseline Blain.

On the flip side, what have been some of the challenges you’ve faced as a composer for concert music and/or multimedia? How have you overcome these obstacles, or how do you face them on an ongoing basis? 

One of the challenges I think every composer has to deal with is writer’s block. I’ve found that when the right inspiration strikes, I can be incredibly consistent (to the point of hyper fixation). Other times, it can feel like I’m drawing blanks, which can be quite frustrating. I think that’s just part of life, you can’t be 100% on all the time. When this happens, I try not to be too hard on myself, and remember that for every valley there will be a peak.

As a Canadian-based creative (Toronto!) how do you view the landscape for emerging and established composers in the scene? What has been your experience thus far? 

Toronto has an awesome community of composers! I joined the Screen Composers Guild of Canada a few years back and have had the opportunity to connect with so many talented people to exchange ideas with, chat about ongoing projects, and even vent with when needed. As for Toronto, the city has a wealth of talented professionals across all aspects of filmmaking, from directors and actors to cinematographers and editors, with plenty of platforms and events to showcase work, and organizations like the Screen Composers Guild and the Canadian Film Centre offering valuable resources and connections. It’s got a thriving cultural scene, with film festivals like the Toronto International Film Festival (TIFF) showcasing the city as a global center for cinematic excellence and creativity. I think Toronto has become a real powerhouse in the film industry.

Are there any upcoming or current projects of yours that you are excited by, and can share with us? 

I’m thrilled to be collaborating with Amadeus Choir in their choral composition lab, where I’ll be partnering with different poets to create three new choral works. This partnership adds a whole new dimension of creativity and exploration to our project and will be a great experience to blend expressive language with emotive music. I’m also being commissioned to compose a string quartet, which I’m excited about. It’s a chance to fully immerse myself in the beautiful sound world of strings and create a piece that speaks to the heart of both performers and listeners. 

Other than that, I have a few films lined up, am working on another EP to release in the fall, and soon I’m set to begin scoring a documentary about a Canadian surgeon-scientist with two very talented filmmakers I’ve had the pleasure of working with these past couple of years. It’s a unique opportunity for me to combine my love for music with storytelling and contribute to a project that has the potential to educate and inspire people. 

A pleasure getting to interview you – where can we find your music online, and how can we stay connected with you?

Thank you so much! You can find much of my music on Spotify, Apple Music, and most streaming platforms, but you can find more on my website, https://www.katharinepetkovski.com/

You can also follow me on Instagram for updates at @katharine.p 

Interview by Alexandra Petkovski

Check out the AWFC directory page for Katharine Petkovski.