C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Nadar Summer Academy



Nadar Summer Academy

by Juraj Beráts, ISCM Slovak Section

Over twelve days the 89th ISCM World New Music Days present- ed a variety of interesting and innovative concerts and projects, enabling a comprehensive insight into contemporary music. One of the projects involved educational activities intended for children, young people and their pedagogues. The project comprised the international conference “NEW EARS” organised by the Centre of New Music (MATRIX), educational concert of the electric guitar ensemble (Guy De Bièvre) and the Nadar Summer Academy, on which I would like to comment in detail. Briefly, music education in Belgium is highly developed on all levels. With its rich (especially historic) background, the country provides favourable conditions for young performers and for a rich musical life ranging from the earliest to the most contemporary musics. The Nadar Summer Academy focuses on students of music between 14 and 18 years of age and provides them with a higher level of education in the form of summer courses. MATRIX backs the project with its headquar- ters in splendid Leuven. Professional supervision is provided by

the Nadar Ensemble, founded in 2006 by a group of graduates of several Belgian conservatoires. The ensemble focuses on music by the youngest composers from all over the world, inviting them to collaborate during rehearsals. The Nadar Ensemble has appeared on several festivals, such as Ars Music, Flagey, the Bruges Concert- gebouw, De Nieuwe Reeks in Leuven and the Music Harvest Festi- val in Denmark. In 2010 the Nadar Ensemble was the ensemble-in- residence at the 45th Darmstadt Summer Courses.

Preparations for Nadar Summer Academy took six days in August, when ten young musicians worked under supervision of five tutors (members of Nadar Ensemble) during private lessons and workshops of chamber and ensemble music. Improvisation, unconventional musical instruments and many other aspects of 20th- and 21st-century music also constituted an important part of the process. Intensive professional work resulted in an interesting project that led to a concert within the 2012 ISCM World Music Days in Leuven. The concert took place on Sunday, 28 October in the packed multimedia space STUK. I would like to take a closer look at some compositions. The concert opened with Studie voor Shopping 4 (Michael Maierhof ), which created a surprisingly spatial sonority. Half a dozen of students rubbed balloons (“musi- cal instruments”) with varying intensity and colour. Piano Hero # 1 (Stefan Prins) joins a MIDI keyboard with a sequence of images on the screen behind the pianist (Bram Rooses). MIDI keyboard trig- gers pre-recorded video footage of a pianist playing on the strings of the piano. “Classical” repertory was represented by Berio’s Duetti per duo violini and Varèse’s Density 21.5, rendered outstandingly by violinists Mieke Poppe and Emelie De Bruyne, and flutist Lotte Bryan. Two compositions Popular Contexts (Matthew Shlomowitz) combine the sound of piano and synthesiser. A melody in two unison parts blends piano and synthesised sounds. In the first piece we heard pre-recorded sounds of everyday life (performed by Hannah Serneels), in the second the sounds of telephone, jazz trumpet and Jimmy Hendrix’s riffs (Rani Theunis). Summer courses featured also live electronics; hence the concert included also Mondwerk (Benjamin Thigpen) performed by Elisabeth Klinck. Voices and Piano (Peter Ablinger) uses a recording of the voice of Hanna Schygulla, the German actress; its rhythms and intona- tions were perfectly followed by the pianist Noreen Broeckhove. The combination of voice and its faithful “copy” in the form of a melodic line was particularly impressive and effective. Ziek! was composed during the courses and also employs live electronics – loops of recordings in real-time (Karin Broeckhove – cello, Mieke Poppe – violin). So much for a brief outline of the variety of new approaches to music and music education of teenagers. 2012 Nadar Summer Academy featured these lecturers: Marieke Berendsen, Daan Janssens, Katrien Gaelens, Pieter Matthynssens and Elisa Medinilla. Such a conception has great potential, and I am assured that the projects of the ISCM – Slovak Section (VENI ACADEMY and New Music for Kids & Teens) are going to achieve their goal – acceptance of contemporary music and new ap- proaches to performance and pedagogy into common practice. Nadar Summer Academy points to attractive methods of music education, and I think we can learn a great deal from it. Information on the project is available at and


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