Composer meets visual artist

Apr 01, 2019 by SFTH in  Spring Festival Countdown

‘A paradise built in hell’ will be performed at Tuesday evening 19.30h in Korzo.

This performance is the result of a huge collaboration that already started in November. Students from the composition department, students from the Royal Academy for Visual Arts and the Ensemble Klang were working together on a so-called ‘Mixed Media Opera’.

From November on the creators met weekly to give shape to the theme: ‘the relationship between man and nature’.

Germán, one of the composers felt like there was a good connection in the group:

‘Things came naturally, we had to understand that we didn’t have to push anything, and give everyone space to do what they could do best’

One of the biggest challenges was, that the visual artists wanted to get inspired by the music. They had to wait for the composers to finish their notes and work with an electronic representation of the pieces.

According to Germán everything started to come together in the last three weeks. In the beginning this was still a bit difficult. The 14 students split up in four smaller groups during the writing process. This led to four completely different scenes. That was where the director came in, and together they were able to create a whole out of it.

The theme of this spring festival is ‘collaboration’. This project is THE example of collaborating composers. You are not only working together with the artists of your team, but also with the other composers, the director and the ensemble.

Germán: ‘You care for the whole thing, not just for your own music’

And that’s maybe how so many people can work together. They are all striving towards the same goal: An amazing performance.

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Reflections from an Audience Member

Apr 05, 2019

During the interval of Tuesday afternoon’s concert (Sara Zamboni’s / Microtonal Pianos), we had a brief chat with Hup, who you might know from visiting many concerts of the composition department.

When talking to him, we found out that he had begun attending the Spring Festival four years ago.

He noted that this year’s festival includes works by composers outside of the department (notably Nicholas Collins and Arnold Schoenberg), which for him changed the mood of the festival.

What makes Hup come back to the Spring Festival is the diversity of music, which caters for his own need to be surprised. He admires that the music is ‘sincere and people have to do it’, which makes it interesting. He likes that the students’ music has a ‘sense of urgency’.

Blog post by Patrick Ellis and Eva Beunk

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© Co Broerse Paul Termos, Martijn Padding, Cornelis de Bondt, Elmer Schönberger, Andries van Rossem

Back in the old days…

Apr 03, 2019

This year is already the 52th edition of the Spring Festival. We asked our teachers, former students of our conservatoire how everything was back in their time….

Calliope Tsoupaki: “It was the same building, it smelt the same, everything was the same. It was like now: busy. You have to imagine that me, Martijn, Yannis, Peter, (red: all composition teachers) we were all like you students are now. “

Both Calliope and Diderik Wagenaar confirmed that the Spring Festival’s chaotic level of now is nothing compared to their time. 

Calliope Tsoupaki: “We had to do everything ourselves. We had to find our way alone, also in the wild life of getting concerts and all that stuff. The spring festival was not so much divided in projects as it is now. So everybody was presenting their work, but it was us who took the initiative. For the rest it was not so different from now.”  

What made the Spring Festival special? “It was the sphere that was different than the rest of the year in the school, in the Spring Festival everyone was seeing you in a different way. And I remembered once Diderik was walking around and I had a piece for piano, and I remember that he came and to tell me “ok now perhaps it is time that you follow one more lesson with me”  and I will never forget that.

 

Calliope is supervisor of the Vocal Project which is already going on for 10 years. Together with Noa Frenkel, she coaches the composition students that are working together with students from the vocal department. 

“The vocal project is a very sensitive project. Vocal writing is always different than the rest of the instruments: the whole body of the singer is part of it. It is not like ‘oh I am gonna play a note and then it is ok with my instrument’, it has to be from the deepest part of the body created by singer. 

Noa is giving a lot of feedback on stage presence, and this is something you really need to have, because we composers don’t always give the right feedback on how we want the singer to stand. So during the rehearsals when Noa comes in, and she just says three words to the singer, the singer starts singing in another way. It is just the same piece, nothing changed, it is not that they practiced more.. This is the miracle of the vocal project.” 

The concert of the vocal project “Under the Same Moon” will happen on Thursday evening, 4 april at 19:30 in the Arnold Schönbergzaal, Royal Conservatoire.

Maarten Bauer (composer) and Viola (singer) during their rehearsal
Maarten Bauer (composer) and Viola Cheung (singer) during their rehearsal

 

 

 

 

 

 

 

 

 

 

Header picture: © Co Broerse

Calliope Tsoupaki and Guus Janssen (above)
Paul Termos, Martijn Padding, Cornelis de Bondt, Elmer Schönberger, Andries van Rossem, Joël Bons, Louis Andriessen

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Technology is a football, the concert is a cake

Mar 30, 2019

On the first day of the spring festival there will be a very special concert (as on all the other days as well of course).

The composition department invited Nicolas Collins to fill an evening with his music.

He was happy to do so, made a program which will be performed by students of the composition department.

Nicolas selected four pieces, for this concert. In the selection process he was mostly concerned with one thing: It had to make use of the students as performers as much as possible. He is interested in what happens if performers are working together, he wants to challenge performers by putting them into situations in which they don’t exactly know what is going to happen so that they have to creatively react on a short notice.

‘If you perform a piece you can really figure out how that stuff has been made’

Nicolas collins at the rehearsal of ‘Roomtone Variations’

All of the pieces that Nicolas selected for this concert make use of electronics:

Students working on Nicolas’ piece

“My interest in technology is not so much that I want it to create new sounds, but at home we always called it a football. If you put 6 kids that don’t know each other in a playground and you put a football in the middle you have instant interaction, but if you don’t and they have to talk to each other it Is complicated. So, I tend to use technology more for organizational purposes then for it’s purely sonic ones.

I love to take risks, which means that occasionally stuff doesn’t work correctly. I want to perform proper experiments on stage. Neither the performers, the audience, or the composer knows what is actually going to happen, but as with a good cake recipe, you’re so happy when it comes out of the oven right!”

Blogpost by Eva Beunk

Pictures by Wilson Leywantono and Yannis Kyriakides

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