A Festival of Immersion

Attendees experienced a whirlwind of musical events, with approximately five to six events daily. These took place at various venues, including the national Concert Hall, local clubs, and even an observatory near Dublin. The festival featured a wide array of ensembles from Ireland and abroad,mirroring the spirit of festivals like “The New Music Days of Latvia” and “arena.” Programs highlighted both renowned composers of the 20th and 21st centuries.

Artistic Vision and Leadership

The festival’s leadership focused on inclusivity and broad appeal.John Harris, the artistic director of “New Music Dublin,” aimed to create a diverse program catering to various audiences as taking the role in 2018.

When asked if his dream had come true, Contemporary music is an unpredictable thing… You can’t really tell you what awaits you year after year. I try to represent the different composers as possible, which means different genres.

Harris further elaborated on the festival’s scope:

This is not a mainstream festival – mostly Irish music, but we also include the works of internationally recognizable authors.

John Harris, Artistic Director, New Music Dublin

The festival embraced a wide spectrum of musical styles, from children’s choirs to experimental guitar performances. Harris emphasized that his role was not to define contemporary music but to showcase its breadth, fostering curiosity and discovery among concertgoers.

The festival operates through close collaboration with various musical groups. Choirs and orchestras propose pieces they wish to perform,and Harris works to align these proposals with the festival’s overall vision.

Audience Engagement and Community

The festival has seen notable audience growth and diversification. Surveys have helped organizers understand audience demographics and preferences,revealing that attendees often identify with specific social communities or artistic interests. Increasingly, individuals are choosing to attend multiple concerts or the entire festival.

Harris described his role in fostering community:

sometimes I feel like a manager over different tribes and my job is to make sure they understand them. The greatest joy is when people with different tastes and choices of music meet and go to the pub together.

John Harris, artistic Director, New Music Dublin

He envisions the festival as a meeting point for diverse musical “tribes,” encouraging interaction and collaboration.

Delegate Impressions and International Perspectives

The festival hosted ten delegates from various countries, including Canada, Scotland, Belgium, Poland, France, Estonia, and the Netherlands. These delegates engaged in discussions and shared impressions,providing valuable international perspectives.

One of the highlights was a conference-artist parade organized by the irish Contemporary Music Center, featuring brief meetings with musicians, ensembles, producers, and record companies. While the rapid pace of these interactions could be overwhelming, it yielded a wealth of information and connections.

Marcens Atrens, organizer of the “Transit” festival in Belgium, noted the emphasis on local culture:

significantly, ther are many Irish music here. It is very valuable to take care of local culture, domestic players, local composers…carefully observe how it affects the artistic life outside the festival. It seems to me that this aspect is also very important for New Music Dublin.

Marcens Atrens, Organizer of “Transit” festival

Atrens also appreciated the artistic freedom given to ensembles and the festival’s focus on music itself, compared to festivals with more multimedia projects. He was especially impressed by the opening concert at the 18th/19th-century observatory, despite the cold weather.

Meiegee Hopman, spokeswoman for the November Music festival in the Netherlands, praised the “Total Made Up Orchestra” for its ability to inspire musicians of all ages. She lauded conductor Brian Irving’s unique approach and expressed interest in bringing a similar atmosphere to Holland.

Jeffrey Stonehouse,representative of the “Le Vivier” festival in Canada,highlighted accordionist Andreas Boregard’s performance,particularly in compositions by Philip Venabl and Ted hafman that quoted Bach’s “Goldberg Variations.” Stonehouse was drawn to the merger of genres and the emotional narrative conveyed through the music.