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Download on AIR In 2015 ON 2016 AIR ON AIR ON AIR ON AIR ON AIR ON AIR ARTIST IN RESIDENCE PROGRAMME AMSTERDAM UNIVERSITY OF THE ARTS AIR ON ON Photo: Thomas Photo: Lenden AIR p. 8–14 Claron McFadden p. 16–28 Photo: Joost Bataille Joost Photo: Gabriel Lester Photo: Jan van Breda van Jan Photo: p. 30–38 Der Theater- macher p. 40–46 Henk Schut Photo: Anne Photo: Douqué p. 48–54 Helmut Dick Photo: Thomas Photo: Lenden ON AIR Moestuin van het cultuur- landschap Hier ENG VOORWOORD Students working on a glass painting in the Academy of architecture courtyard as part of Gabriel 5 Lester’s form study classes on matte painting. Photo: Thomas Lenden AIR ON ON AIR Claron McFadden Photo: Thomas Photo: Lenden 6 CONSERVATORIUM VAN AMSTERDAM AIR ON ON AIR Music Live Interview with Claron McFadden By Maria Hagen For soprano Claron McFadden, learning is all about finding new ways of listening to music and thinking about music. ‘I give the students innova- tive triggers and encourage them to open up their thinking as broadly as possible.’ She was the 2015 Artist in Residence at the Conservatorium van Amsterdam, where she coached students from a variety of programmes to Photo: Thomas Photo: Lenden broaden their perspectives on music practice. About Claron The eternal quest for dance and video, for example. They now the project McFadden new cross-connections play a crucial role in music practice. And the relationship between technology The distinguished American soprano Claron McFadden studied at the Claron McFadden was still very young and music is a very exciting one, too. If Claron McFadden was the Artist in Eastman School of Music in New York, when she became interested in the you get plenty of experience as a young Residence at the Conservatorium van and debuted on the opera stage at the cross connections between genres. ‘At musician working in a multidisciplinary Amsterdam for the entire 2014-2015 Holland Festival in 1985. It was the start secondary school I performed in musi- setting – like, for example, if you get academic year. The Conservatorium gave of an impressive career, during which cals, played oboe in a youth orchestra used to moving on stage – I think that McFadden carte blanche, and over the she worked as a solo artist with the and trombone in a jazz band. And later means you’ll better equipped for the course of the year she offered students a likes of William Christie and Michel van on when was at the Conservatory I was future. variety of forms of training and educa- der Aa, and with orchestras including always on the lookout for new colours, tion. Her coaching sessions, for exam- the Residentie Orkest and The Budapest for new innovations. I arranged and I ple, were open to ensembles and indi- Festival Orchestra. McFadden is an composed. When making new connec- Off balance vidual students from all Conservatorium in-demand opera singer. She received a tions I didn’t set any limits between mu- study programmes. Her innovative and Grammy nomination for her rendition sic theatre and jazz and ancient music. Claron McFadden made sure not to limit interdisciplinary work practice was, of Birtwistle’s The Woman and the Hare I’m always searching for the beauty, the her residency to working solely with in and of itself, an inspiration to the with the Nash Ensemble, and she won essence of the sound. It’s the purity of vocal students. One of the other groups students. She taught them to look with the 2006 Amsterdam Art Award. Her the approach that keeps the music vital.’ she worked with was the saxophone an open mind and take a broad perspec- music theatre production Lilith had quartet Ebonit. ‘At the start, I put the tive, stimulating crossovers between a its world premiere at the 2012 Holland students a bit off balance by confront- variety of disciplines. Festival. McFadden is the co-founder Stay ing them with the sounds and timbres of Splendor, a self-run venue set up broadminded of the singing voice. I wanted to do by top musicians and their audience. something with them that was differ- It functions as a meeting place, club, Students need to stay as broadminded ent from what they’d learned before. workspace and musical lab. as possible, believes McFadden. ‘Why So we began working with a piece by exclude Monteverdi from your reper- Monteverdi. Of course people think, toire, just because you’re a saxophonist? “What? Monteverdi? On a saxophone?” Keep on searching for your authentic But it’s really no odder than playing Bach sound. Create your own niche. I think on the piano. I once performed Bach’s it’s so important for young musicians Aus Liebe will mein Heiland sterben with to do that. Make sure you get out there two saxophonists and a pan flautist. It and work together with other artists. brought the audience to tears. You get If you limit yourself to one specialism, a completely different tonal quality. As you’ll soon find yourself left by the long as you do it with respect, the music wayside in modern art practice. Take comes to life in a new way.’ 8 9 AIR ON ON AIR Photo: Thomas Photo: Lenden A rich toolkit Getting a taste of other A reflection of our to do is affect the audience. I see art as a disciplines existence reflection of what’s happening in socie- ‘Students come to me precisely because ty; it’s a finger on the pulse of social and of my broad approach. I want to get my Claron McFadden is a great advocate of Claron McFadden is an active member human existence. It’s where you go if way of working and thinking across to making time and space on the pro- of Amsterdam’s Splendor, ‘A place for you want to find the emotions we share students because I’m convinced that gramme for trying out new things and unbounded experimentation where – our collective consciousness. Art can it’s the future. What I try to do is shape forming new joint ventures. ‘As far as artists can meet and inspire one another trigger the mind, the heart and the soul, the students’ mind-set. They want their I’m concerned, you can’t separate exper- and their audience.’ ‘Time moves fast,’ and what I try to do is get that across to thinking to be challenged, and they’re tise from interdisciplinarity. Of course says McFadden. ‘You can feel that the my students. really open to new input such as en- you need to master your instrument, younger generation experiences things counters with other artists, trying new but if you can lay a good foundation, differently. The students are eager, approaches, working with a microphone. you can further perfect your skills in always on the lookout for new perspec- And it’s all stuff they can take along with the field. If you learn as part of your tives. Concerts are more interactive them on their life journey. I took the studies how you want to present your nowadays, and young audiences have a students to see my music theatrepiece music, you’ll be much better prepared greater need for that. That’s something Lilith, a cross between jazz, classical and for professional music practice. At the we see at Splendor. There are still audi- improvisation that I made together with Conservatorium you’re bound to en- ences that prefer traditional concert per- a filmmaker, a librettist and a jazz com- counter other genres and disciplines. My formances, but in some areas, such as poser. I performed it on an aquaphone, job as Artist in Residence is to bring in opera, performance practice has moved which gave it a new, almost mythical my approach to music in a modern con- on dramatically. As an artist what I want sound. It was a real eye-opener for the text. It’s all about giving a new impetus students, because they suddenly under- and broadening horizons, and there’s no stood the added value of my approach to reason that that has to be at the cost of Maria Hagen is head of communications and marketing at Amsterdam music. That’s the sort of moment when I specialist excellence.’ University, and former head of communications at Amsterdam University of think, “Mission accomplished.”’ the Arts. 10 11 AIR ON ON AIR Ebonit Quartet sounds and timbres Photo: Carlos Rosas Carlos Photo: Learning from each other The Ebonit Saxophone Quartet is a music, for instance, is closely related to young and passionate ensemble made baroque music.’ up of Simone Müller (Germany), Dineke Nauta (Netherlands), Johannes Pfeuffer (Germany) and Paulina Marta Kulesza Interdisciplinarity: (Poland). They got together at the an artistic necessity Conservatorium van Amsterdam and are currently pursuing their masters studies All four members of the quartet agree of the singing as the first-ever saxophone quartet that more demands are made on the at the Netherlands String Quartet current generation of musicians over Academy. It was there that they got and above those for excellent musician- voice the opportunity to work with Claron ship. ‘If you want to survive it’s crucial McFadden, and they are full of admira- to be aware of how you present yourself tion for the artist. ‘Claron McFadden just on stage. It also helps if you learn some- has to enter a room and she fills it with thing about marketing, for example,’ her enthusiasm,’ they exclaim. explains Dineke Nauta. The quartet went to see Claron McFadden’s Lilith, and, McFadden’s enthusiasm was infectious, ‘It was really inspiring.
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