Gaudeamus Canada: Machines
Gaudeamus Canada: Leftovers?
Gaudeamus Muziekweek director Henk Heuvelmans is currently in Canada for the first edition of Gaudeamus Canada. He shares his experiences in a series of blog posts.
the results of the young composers' workshop with Trio 7090 were
presented last night. The day before I had a nice conversation with Erin
Gee, a young vocalist/composer working in the field between human voices /
electronic bodies and human bodies / electronic voices.
evening the McGill Contemporary Music Ensemble performed a brand new
piece for 14 instruments and electronics by young Canadian James
O'Callaghan at the Pollack Hall of McGill University's Schulich School
of Music (a mouthful). This concert wasn't part of Gaudeamus Montreal.
Shook hands with Denys Bouliane, who was the very first Canadian
composer to be present at Gaudeamus Muziekweek (in the early 80s); he is
the co-chair for music composition with Chris Harman, who was at
Gaudeamus several times and got an Honorary Mention in 2001.
I visited the MatraLab, the
Musicmovementmedia-art-theatretheory-research-agency at Concordia
University, where Jen Reimer and Navid Navab showed me their work and
the Matralab Box, a nice small black room filled with equipment, where
Navid was preparing a beautiful interactive installation together with a
In the evening there was a short concert by trumpet player Amy Horvey who performed works by Louis Andriessen, Isak
Goldschneider, Cecilia Arditto, Cassandra Miller while Richard Ayres (so
lots of music from The Netherlands, unexpectedly!) prepared us up for
the Leftovers presentation: works/situations/performances by Gabriel
Dharmoo, Noriko Koide, Thanasis Deligiannis, Christopher Reiche, Bart de
Vrees, Adam Basanta and Grzegorz Marciniak.
They had a very
good time here in Montreal, working with Bas Wiegers, Nora Mulder and
Koen Kapteijn of Trio 7090 and being inspired by each other, the
musicians and their colleagues from Montreal.
The concept for
this "Leftovers"-workshop was to start from older not-yet-used ideas of
each of the participants, and then develop these ideas together with the
Trio into a piece. Elder composers Yannis Kyriakides and Christopher
Butterfield now and then advised how to mold the proposals into works
with a beginning and an end. The result: a really very diverse and
sometimes very theatrical show of works, of which the audience didn't
know the author: after the concert they could look at the original
"leftover"-proposals and guess which piece was whose.... I feel that
some results will have a second life, perhaps at Gaudeamus Muziekweek
later this year; and in all cases the composers have learned a lot from
So: this is really something to follow up again in the near future!