Reinier van Houdt
Reinier van Houdt started working with taperecorders, radio's, objects and various string-instruments at a young age. He studied piano at the Liszt-Akademie in Budapest & the Royal Conservatory in The Hague. He developed a fascination for matters that escape notation: sound, timing, space, physicality, memory, noise, environment - points beyond composition, interpretation and improvisation. He has built himself an unusual repertoire that consistently resulted from personal quests; from collaborations with composers & musicians, from research in archives, from the composing and staging of music-performances or from unorthodox studies of classical music.
Aside from his own music he premiered music by Robert Ashley, Alvin Curran, Kaikhosru Sorabji, Francisco López, Charlemagne Palestine, Yannis Kyriakides, Maria de Alvear, Jerry Hunt, Michael Pisaro, Walter Marchetti. He has also worked with John Cage, Alvin Lucier, Luc Ferrari, Peter Ablinger and Christian Marclay. Reinier van Houdt plays in Current 93, recently releasing an album with contributions by Nick Cave, John Zorn and Antony Hegarty. He is also one of the moving forces behind the experimental music collective MAZE.
He performed in such diverse venues as The Roulette & the Issue Project Room in New York, San Ildefonso Mexico City, Café Oto & Queen Elizabeth Hall in London, DOM in Moscow, Setagaya Gallery Tokyo, Paradiso Amsterdam, Apollohuis Eindhoven, the New Library in Alexandria Egypt, REDCAT & the Wulf in Los Angeles, Mills College Oakland, Non Event Boston, Kuryokhin Center in St Petersburg, Trafo Budapest, Nuits Nomadiques in Paris, Brut in Wien, HAU and Volksbühne in Berlin, Empty Gallery Hong Kong, Tramway Glasgow and Klangraum Düsseldorf. Appearances in festivals CTM Berlin, Meltdown London, Angelica Bologna, Holland Festival, Warsaw Autumn, Incubate Tilburg, UNSOUND Poland, Primavera Barcelona, November Music Den Bosch, and many others.
".....music more and more escapes the grasp of the composer, the musician and the listener. The notion of music as 'a genius' creation', as an 'artisanal product' manufactured according to a certain tradition, or as an experience that is exchangeable within a market, is coming to an end..
..music seems more like a natural phenomenon or a ghostlike apparition, brought about by experiments or certain states of mind. Heavily distorted or barely audible - a hiss, almost; an essential unreliability, that nevertheless determines its vitality..."
(photo by Michel Marang)