How the Degree To Which Instrumentalist and Composer Work Together Affects the Compositional Process, the Composition and the Final Performance

Stef Van Vynckt

This research focuses on the compositional process from the point of view of the performer. It examines the extent to which collaborations with composers have an effect on the composition and subsequent performance. More specifically: how do compositions in which you, as an instrumentalist, were involved during the composition process compare to compositions where this was not the case? How does the relationship with the composer contribute to the final performance?

COLLABORATION: A FASHIONABLE CONCEPT

The Cambridge Dictionary defines ‘collaboration’ as ‘the situation of two or more people working together to create or achieve the same thing’. In the instance of musical performance we could easily identify the composer and performer as the people working together to create: generally the composer will create the score, and the performer will create the interpretation – this notion will be discussed in detail later.

Though collaboration between composer and instrumentalist is a concept which we find throughout the history of music, it has become synonymous with most of today’s contemporary music scene. When taking a look at the biography and mission statement of leading contemporary music ensembles we can remark every single one of them refers to working with composers as a cornerstone of their performance practice.

The following are examples that can be found on their websites:

‘Unis par une même passion pour la création, ils participent à l’exploration de nouveaux territoires musicaux aux côtés des compositeurs, auxquels des commandes de nouvelles œuvres sont passées chaque année.’
‘Under the artistic direction of Matthias Pintscher the musicians work in close collaboration with composers, exploring instrumental techniques and developing projects that interweave music, dance, theatre, film, video and visual arts.’ (Ensemble Intercontemporain)

‘In enger Zusammenarbeit mit den Komponist*innen erarbeitet das Ensemble Modern’ (Ensemble Modern)

‘The Ensemble’s composer-collaborators —many who were unknown at the time of their first Ensemble collaboration— have fundamentally shaped its creative ethos and have continued to have highly visible and influential careers.’ (International Contemporary Ensemble)

‘Die Ergebnisse dieser häufig in enger Kooperation mit den Komponisten geleisteten Arbeit präsentiert das in Köln beheimatete internationale Solistenensemble in jährlich etwa 80 Konzerten’ (Ensemble Musikfabrik)

‘The ensemble believes that close collaboration with composers is vital to the process of interpreting modern music and therefore attempts to work with every composer it plays.’ (Arditti Quartet)

‘Asko is proud to collaborate with various venues, composers and young makers on its shows and performances.’ (Asko|Schönberg)

‘24 musicians from ten countries constantly explore new horizons of artistic creativity together with the most important composers of our time.’ (Klangforum Wien)

‘Together, the All-Stars have worked in unprecedented close collaboration with some of the most important and inspiring musicians of our time, including Steve Reich, Ornette Coleman, Burmese circle drum master Kyaw Kyaw Naing, Tan Dun, DJ Spooky, and many more.’ (Bang on a Can All-Stars)

In fairness, I must also admit that even my own ensemble identifies collaboration as a foundation:

Extended Music Collective is a chamber music ensemble of young musicians performing 21st-century classical music. The core of the collective, which was founded in 2019, includes flute, cello, harp and piano. The ensemble explores the diverse spectrum of new music, in which collaborations with composers form a foundation.

We create concert programs which are coherent and diverse at the same time. A design that we achieve by engaging in intense dialogue with composers from all over the world, different in background and style. This already resulted in collaborations with, among others, Frank Nuyts, Vache Sharafyan, Renée Vos, Siebe Thijs and Toon Pillaert.

Extended Music Collective moves beyond its own discipline of interpretation, forming collaborations not only with composers but also with artists from different fields, ultimately shaping a new and personal approach to performing classical music.

This observation begs the question of how these ensembles implement collaboration in their daily practice. It is difficult to imagine all of these ensembles having the same understanding of the term, let alone a similar model when collaborating with these composers. Moreover it raises the question of the extent to which the concept of collaboration is used as a marketing tool.

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