Contemporary classical music is a focal point during my studies at the Royal Conservatoire of The Hague. Moreover, since the historic repertoire for harp is not as extensive as the repertoire for, say, piano or violin, I aim to contribute to expanding it. This, in turn, enables me to explore the immensely diverse spectrum of new music. As a consequence of this personal aim, it soon becomes clear there is a need to enter into collaborations with composers. This also gave rise to the foundation of the chamber music ensemble ‘EMC Extended Music Collective’.

During this research I will take an in-depth look at collaborations between composers and instrumentalists/performers.

The first step will be to contemplate the question of defining the concept of collaboration. Secondly we reflect on the role of the instrumentalist/performer. Furthermore, we take an in-depth look at a couple of collaborations between harpists and composers of the past. In addition to this I will go over my personal experiences concerning collaborations. Finally we aim to take a look at the extent to which collaborations with composers have an effect on the composition and subsequent performance. 

This research examines the compositional process from the point of view of the performer. 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? 

For the past couple of months I have collaborated closely with several leading composers in various ways and by different means. I commissioned works for harp solo from Dai Fujikura, Maja Bosnić, Tim Mulleman, Lise Morrison, Renée Vos and Christopher Cerrone. In cooperation with the musicians of EMC Extended Music Collective works were commissioned from Frank Nuyts, Vache Sharafyan, Ward De Vleesschouwer, Renée Vos, Siebe Thijs and Toon Pillaert.

Each of these commissions has proceeded in a different way; with a couple of composers extensive collaborations were established, others delivered a finished product. This research exposition will zoom in on some of those experiences.

I will be providing a brief context for the composer and composition, as well as giving a sense of the process and reflection on the consequences in view of the musical end product.

A word of thanks goes out to my supervisor Renee Jonker for every bit of advice throughout this research, helping me to shape and tinker the outcome. I would also like to share my deepest thanks to Sylvain Blassel for his guiding hand and infinite knowledge. A profound word of thanks goes to Ernestine Stoop for her insights and for shedding further light on the matter. I would like to thank each of the composers, especially Frank Nuyts, Dai Fujikura and Maja Bosnić.