From September 6 to 10, Utrecht is the global hub of contemporary classical music. Since its inception in 1946, the Gaudeamas festival has showcased what young composers are creating today. The festival's core programming focuses on new music, largely world premieres by composers and artists under 40 years old. A conversation with Martijn Buser, artistic director of the festival.
"We started from a Western-oriented perspective and we're constantly trying to adjust that," says Buser. "So that means many commissions for artists of color from other areas, regions, and countries. After all, these are still new sounds, new instruments that connect us. Our programming isn't thematic—what brings our artists together is that they don't look too much to the past but want to look forward. We commission a lot of work, organize many residencies, and all of that has an impact on the festival. There's a risk involved, because the outcome is still unknown. We believe we should take that risk. Because if organizations like ours don't take that risk, the development of new music could stall."
How do you think you can engage more audiences with contemporary classical music?
"A few years ago, we made a deliberate choice to also perform outside concert halls. I'm talking about sound installations or outdoor performances where we actively seek out audiences—not just within the formal framework of a concert hall. Additionally, part of our program is free. That naturally draws audiences. Young people too, for example, our 8+ youth performance, very accessible. In total, we see about 5,000 visitors over the 5-day festival. When I joined Gaudeamas, I immediately said: We need to make this a people's festival. Eighty percent of the music performed is new and unfamiliar. Many of the composers are also unknown. In some cases, the musicians too, so I said: we need to make this a 'discovery' festival. We now only work with day passes. Like how a pop festival is organized. That way you can mix and match different offerings on an evening, create your own route, and aren't forced to sit in the same seat for an hour and a half."
© Paulus van Dorsten
Name three concerts that are characteristic of Gaudeamas 2023
Buser: "Without shortchanging the others: the British songwriter and producer Klein is presenting a new immersive multimedia work. That's with percussion, electronics, and visuals, with lots of light and effects. She brings a different perspective to contemporary music, from an urban street culture viewpoint. The setting comes from pop culture, with a standing audience. The second event I'm really looking forward to is young artist Mees Vervuurt. He graduated from the conservatory here in Utrecht. There's a new program there, Musician 3.0, which is about the musician of the future. It's really much more focused on creators. The traditional conservatory is built on two separate sides—composition on one hand and all the instruments on the other. Musician 3.0 is actually about combining those two, so creating yourself, playing yourself, producing, making. It's about the creator of the future. Mees Vervuurt graduated from there last year, and his graduation project is his own version of the Stabat Mater. He comes from a classical tradition, but he wanted to create a Stabat Mater in his own way. The third characteristic performance is by a Utrecht collective BUI, who we have in residency for two years. Their way of working is unique in the Netherlands. They work exclusively on-site, creating only site-specific work. They develop a toolbox—literally a set of tools they bring to a location that allows them to take over and play with a specific space very quickly. They have Doornburg estate, which is an incredibly beautiful place on the Vecht, so a real gem."
What does a residency at Gaudeamas entail?
Buser: "It's really customized. We don't have a fixed format for a musician, artist, or composer. We have a conversation with the creator about what they need. So it's a coproduction—we help them build a network, assemble a team, like a technical team. Many musicians today think differently about how to present to an audience; they think much more about elements like lighting design, setting, and so on. We then look at which coaches we can connect them with. We scout by visiting graduation performances at conservatories. For international scouting, we work with a European network, Ulysses. Eleven partners across Europe search with us for emerging talent in France, Germany, Finland, Spain, and so on. There are also exchanges."
What profile should candidates have?
Buser: "I'll be frank - if someone has a classical background and wants to become really skilled at chamber music, they'll be slightly less interesting to us compared to someone who draws inspiration from, say, artificial intelligence or gaming culture, or politically urgent themes. That's more exciting for us because we suspect such a candidate can transcend the contemporary music segment and potentially appeal to other networks and venues."
What is your biggest challenge for the coming years?
"We constantly need to remind ourselves that some pieces can be quite abstract for an uninitiated audience. And how do you win them over? How can we get them excited about contemporary music? I think it's important that we change the setting so everyone feels welcome. Lighting design and staging are becoming increasingly crucial, and we have to accept that this puts time pressure on the venues and the program schedule. So be it."
We try to stay very close to our audience. After each festival, we send out audience surveys. The feedback we get is essential for us to know if we're on the right track. People are invited to rate us. So far we score high, and if we can maintain that level, I'm satisfied. It's a leap of faith every year. It's always about new listening experiences, things you've never heard before. Even with a younger audience. That audience is increasingly open to sounds and experiences they don't yet know. I hope that trend continues."
WHAT: Gaudeamus Festival
WHERE: In and around Utrecht
WHEN: 6 – 10 September 2023
where and when: www.gaudeamus.nl
