The third in our series of posts about New Associate Composers, this week we speak with Sophie Dupuis. Although she is studying in Toronto, and has an affiliation with Ontario Region, she comes from the only officially bilingual province in Canada—New Brunswick. In the conversation we get to see some of the ways that her Atlantic upbringing has shaped her relationship to music, while also remembering that time in the 90s when Raine Maida was in every older sister’s record collection.
Two of the teachers who influenced me the most had the grace to listen as full participants. They took the score in their hands and proceeded to live it along with each player they listened to. Players usually responded by playing better - it is much easier to play well when the person beside you is having a musical experience.
I am sometimes impressed by how much emphasis players put on fingering a passage a certain way. As if there is only one manner to produce a phrase that will give it the right personality. Keeping a melody on single string is one of those habits, as if the melody lived on the strings, not in the imagination of the player. The performer’s imagination is the most important aspect of playing; it is this imagined sound that triggers the rest of the music making process. This imagined sound needs to contain pitch and rhythm, in addition to timbre, articulation, volume and subtle changes of speed.
Earlier this year the CMC and the Windsor Symphony Youth Orchestra (WSYO) established an orchestral reading program for early career composers. In this series of blog posts we are profiling the composers who are taking part in the first edition of the project.