The participants of the international project Composer Collider Europe, funded by the European Union, talk about their experiences working with the ensemble, the other composition students and professors. Find out more about Composer Collider Europe at the project website.
My happiest observation was seeing the renowned members of Musikfabrik being an enormous help to all of the composers, suggesting new ways of notating new techniques, or trying to find solutions while simultaneously being genuinely curious and energetic. The whole try-out session period with them felt like a high-intensity running-up-and-down-marathon, grabbing different objects, mallets, cables, effect pedals, or other unique strange instruments to try out on. Getting answers to a never ending amount of questions and engaging into many different conversations: from extended techniques notation and the instrument’s construction and flexibility to different approaches in life, art, philosophy and local restaurants recommendation.
Georgia Koumará, HfMT Köln
Working with the Ensemble Musikfabrik was one of my best musical experiences so far. As a student, it is very rare to have an opportunity to work with such a professional group of players, therefore this was a very special occasion for me.
At first sight, the work ethic and technical capabilities of the players were the things that impressed me. However, during the project it pleased me to realise that in addition to being great virtuoso players, the group is filled with positive energy and friendliness. During the time spent with the ensemble and staff, friendships were formed.
Julian Maple Oliveira, Royal Conservatoire The Hague
Through this process, the first ideas and musical material for my piece ‘An inch above the ground’ were created. The unique timbral characteristics and musical qualities of the musicians of Ensemble Musikfabrik played an integral part in the composition process. The chance to work closely with the musicians as well as the opportunity to get feedback in a relaxed environment gave me a greater sense of freedom to experiment and push boundaries related both to the individual instrumental techniques but also to the greater aesthetic aspects of an ensemble composition.
Mihali Palelogou, Aristotle University of Thessaloniki
Another enriching experience were the conversations with the other participants. To talk to people with different backgrounds, biographies, perspectives on music and composition, approaches and aesthetic preferences is a great opportunity to reflect on one’s own positions.
Benjamin Grau, HfMT Köln
We look forward to continuing this enriching experience in 2020 with a final tour in The Hague, Thessaloniki and Cologne in November. Stay tuned!
With the support of the Creative Europe Programme of the European Union