Roughly 10 years ago, I was welcomed into Nadar ensemble and shortly thereafter invited to conduct the group in a tour in Russia. What a trip!
Now a decade later, I once again get to stand in front of my Nadarian friends and this time to defend my PhD.
With my most heartfelt I wishes, I welcome you all to attend.
Concert on 19 February at 21h in DE SINGEL
details can be found here: https://desingel.be/nl/programma/muziek/nadar-ensemble-hands-on-hands-off
Over the last seven decades, the role of the conductor has evolved in new music ensembles that perform integrated concerts. It was problematized by John Cage; doubled (or split) by Charles Ives, Karlheinz Stockhausen, and Mark Applebaum; manipulated by Thierry De Mey, Simon Steen-Andersen, and Stefan Prins; instrumentalized by Alexander Schubert, Alexander Khubeev, Michael Maierhof, and Pieter Matthynssens; and deployed tactically by Serge Verstockt, Jessie Marino, and Carl Rosman. For these composers and artistic directors and others in their genre, the presence of the conductor is no secondary phenomenon of the music, by an affirmative and active choice to deploy one to meet specific artistic and/or socioeconomic needs. The systematic study of this relatively new and developing situation allowed me to find tools and methods for forming the required piece-specific performance practices with the aim of better functioning as a tactical and curated conductor.
In a program with pieces by Serge Verstockt, Alexander Khubeev, Alexander Schubert and a world premiere by Jennifer Walshe, I will seek to defend my artistic findings into the Instrumentalization of the conductor in new music ensembles.