Abstract
The Gaudeamus Muziekweek is now in its sixty-ninth year and, as ever, it focuses on young music pioneers, in hopes of presenting a snapshot of the newest ideas in contemporary music being developed across the world. The festival's dense and diverse programming is compressed into five full days, in 2016 from 7 to 11 September, squeezed principally within one labyrinthian building, the TivoliVredenburg, whose impressive monolithic glass exterior imposes itself as a pillar of cultural life in central Utrecht. Amid this density, it is impossible to provide anything but a partial account of the festival, and my presentation is far from impartial, as I was one of the five nominated composers for this year's Gaudeamus Award. If only from these fragments and particular foci, then, I will present my own reactions and estimations of how the festival has highlighted some of the innovations and interests of a few of the newest practitioners of new new music.
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