Scott Rubin (1989) is one of the five nominees for the Gaudeamus Music Award 2019. The prize is intended for composers under 30, but the Chicago based Rubin defies a strict interpretation of the concept of composer. – Or of the performer for that matter.
He plays the viola himself, but develops his works in close collaboration with dancers and movement artists. What we see and hear onstage is rather more the outcome of a communal process than the achievement of one particular person. ‘I often act as a performer myself, but I wouldn’t like to use labels that privilege one activity over another.’
All three works he submitted for the Gaudeamus Award involve dancers and motion-sensitive live electronics. Naked to the Sky (2016) calls for 5 performers (4 musicians + movement artist) and was written for/with the Toronto based Thin Edge New Music Collective. Ironic erratic erotic (2017) was composed for/with Jack Adler-McKean, Adam Goodwin and Yuri Shimaoka for a project in Berlin.
In tensions (2018) was developed in collaboration with the cellist Polina Streltsova and movement artist Marie Albert, and was premiered in Paris earlier this year. It will be performed by the fearless cellist Maya Fridman and Emma Evelein in Theater Kikker on Saturday 7 September.
Rubin admits having hesitated to apply for the Gaudeamus Award: ‘I rarely take part in competitions because so few new music institutions support works with dancers. However, Gaudeamus seemed open minded. I’ve been following the festival for years now and have many friends and colleagues who participated in the past. I applied because I thought I had something unique to say and this competition would provide the platform to say it.’
‘I thought that sending a family of interdisciplinary works would convey a cohesive message that contemporary music festivals aren’t just about who writes the best scores for the best musicians. They are about the total collaborative process and audio-visual performance, what the audience sees and hears, and the psychological and theatrical states of the performers.’
‘To me the relation between performer/composer is fluid, non-binary, and intensively collaborative. Everyone creates, it’s just a matter of when. In my honest opinion, all performance is to an extent composition – it’s a question of how far in advance you plan, your relationship to the material and those you created it with, and your attitudes towards flexibility and expressivity.’
‘In my compositional work, I rely a lot on performers to be sensitive and improvise to the best of their abilities at any given moment. They are as much responsible for the success of the project as I am. During the creation process, their material often helps me create structure, so it’s not beneficial to discuss it with regards to ownership or authorship. I often think of myself more as a director or large-scale decision-maker rather than a composer.’
In the Gaudeamus festival he will not be playing his viola on stage. ‘But since all of my works feature live electronics I’m required to perform live from the tech table, often improvising and balancing the marriage between audio and motion data generated by what the performers are doing.’
‘I’ll bring my viola to Utrecht for rehearsal purposes, though. Hopefully I can find some people to jam with…’
I interviewed the five nominees on 4 September in TivoliVredenburg (picture by Co Broerse).