In order to be able to keep a fresh mind and to think ahead and build a better connection with younger composers and artists, we introduce a new concept for our recently-established NEKO.Lab initiative: micro-workshops. Our fourth micro-workshop takes place on 15.-16.9. and features the American composer Connor McLean.

Connor's website: https://connor-mclean.com/

For reference, check out our micro-workshop #3 ft. Sofie Meyer: https://www.youtube.com/watch?v=tQ0VVNxKrhw

Live-stream SCHEDULE on the 16th of September

17:00 open rehearsal
17:55 break
18:00 talk
18:55 break
19:00 first performance of the draft
19:05 feedback session with Connor & NEKO3
19:25 second performance of the draft
19:30 Q&A / answering audience questions,
19:50 third performance of the draft
19:55 closing remarks

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Info about NEKO.Lab : micro-workshops
Each year our micro-workshops will feature a diverse, equality-respecting collection of young composers mainly still in the midst of their studies. Each workshop lasts for 2 days and circles around a micro-piece of 3-5min in duration, or a draft. It can be a technique or an idea for which the composer simply needs musicians, or a draft of a piece specifically written for our ensemble and has potential to become an “actual” commission in the future. The composer will submit a score/draft slightly before the first session and will then work it privately with us on the first day. The second workshop day will be a session open to the public (physically and via social media channels) to have a closer look at the process. At the end of the second day we will perform the result to the audience. The performance will be arranged like a pop-up concert and repeated multiple times during a time frame of a couple of hours so that people can walk in and catch the performance as many times as they want. Based on our experience in working with composers over the past few years we have come to the realisation that the active participation of musicians in the creative process is of high importance for composers. Throughout the process composers will carry many of their doubts with them, and each process will differ from the conception to the actual realisation. But if it was that the composers and performers were open to engage in a dialogue throughout the process and conduct preliminary experiments with some ideas, occasionally accepting that some ideas do not work would be much easier. The composers would be encouraged to find solutions and improvements in an early stage of the composition which would greatly benefit the future work, whereas the musicians would gain a whole different understanding about the work and its ideas and would thus be able to perform and work on it on a higher, personal level. We would like to extend our gratitude towards to the Danish Composers' Society for supporting this initiative.