Edwin Huizinga is one of those people doing many things in different places. I first encountered him as part of Tafelmusik.

I heard Edwin’s original composition in Opera Atelier’s The Angel Speaks in 2019, when he played his baroque violin.

Edwin is a composer, a violinist, a professor of violin, and also the artistic director of the Sweetwater Music Festival that runs September 10th to 15th, a unique annual event in Grey Bruce Ontario.

I was delighted to ask him a few questions.

*******

Barczablog: Are you more like your father or mother?

Edwin Huizinga: It is because of my loving mother Mieke, that I play the violin today. I am so grateful. There is not a day that goes by since October 21st, 2007 when she passed away that I do not think of her, and send the love I have for her out into the world. My mother’s love for her family and music was so infectious, that I feel like I connected the music with that love. To this day, playing the violin is such a joy for me. Playing with others, sharing music with audiences around the world. It brings me so much joy. I also remember, as a child, getting up in front of an audience for a local Kiwanis music festival in Guelph, Ontario, Canada, putting the violin under my chin, and then running back into the audience into my mother’s arms. Playing in public was going to take many years for me to really understand how to enjoy. However, now, having been performing professionally for over half of my life, when I take the stage I feel like it is a chance to share a bit of who I am, who I want to be, my dreams, my fears, all of it. It gives me a chance to tell a story. Communication through music is such a magical thing – because you don’t even have to find the right words for what you want to say. 

My father, Jan, is also a big influence on me. He has been a professor at McMaster University for the last 30 plus years, and loves his work so much. My fathers work ethic, and passion has often been a driving force for me. As a professor now myself, at my alma mater, Oberlin Conservatory of Music, I feel that same work ethic as I begin this next chapter of my life in academia. I often think about the unknowns of studying the violin as a first year undergraduate student in 2024. However, many things in life are unknown, and one thing that I always like to tell my students is to enjoy every minute of it. You can always change your mind, or pivot to other fields, but being involved and learning about something you love and working hard in it, is the best thing you can do as a young student.

I also love nature, and being outdoors. Growing up on a farm I was lost in the woods for countless hours a day with my dog Robin, and my sister Linden. We had an amazing magical kingdom behind the house. I made forts, and bike paths, and fortresses, and witch cauldrons with blackberries, and stick houses, and you name it. A young boy with many acres to explore and a pretty big imagination. I often spend time in nature, when I compose, or for downtime from touring or teaching. Nature is one of the ultimate ways for me to feel the presence of peace. Hiking is also a passion of mine, and I always look for new trails wherever I go.  In another life, perhaps I would spend it as a park warden working in Big Sur, California. One of my favourite little corners of the world. 

BB: What is the best or worst thing about what you do?

Edwin Huizinga: One of the best things about my life as an artist is dreaming up ideas, and finding ways to bring musicians and friends together. Those things just make my heart leap for joy. Now, as a teacher as well, I have to add getting students excited about music they have never heard of  and getting them over a hurdle or hump in their learning. Dreaming up ideas is just the most amazing thing. I mean, there are times now, in my life, that I get paid to think of interesting things to program, compose, and make happen. WHAT!?!? I mean, that is just mind blowing. One thing comes to mind of being part of a CBC Gem’s series with my dear friend Measha and putting together a hip hop symphony with the NAC Orchestra, Measha, Jay Vernon, and Aaron Davis. How did that happen? I said YES to an amazing idea. Or putting together my folk and barolk duo called Fire & Grace. My friend William and I  just decided we were having so much fun on a gig we should start a duo. Now ten years later, we have three albums out and have toured and performed all over together.

Another question that you asked is what is the worst thing about what I do? Hmmmm. I guess I would say, every now and then the administration aspect of being a director and conductor and doer gets to be overwhelming. Also being in Academia now has its juggling act with understanding the bureaucratic world around the Conservatory and College. However, I know it needs to get done, and I always find some joy in it. Even if the joy is simply in getting it done. Once in a while I also miss something, and having someone think I forgot about them, or didn’t want to reply to something that they asked about, that feels awful. However, as I grow and learn how to manage my time more efficiently that does not often happen! 

BB: Who do you like to listen to or watch?

Edwin Huizinga: I love to listen to my friends make music. I love listening to them play, perform or just share what they are passionate about.  And, I love to listen to my colleagues that I am working with, or other musicians I admire and just have bigtime musical crushes on.  Let me give you some examples. The last year has been a year of Brian Finnegan tunes for me. Just last month, in July 2024, my duo Fire & Grace invited him to the Carmel Bach Festival to perform on the main stage together and put on an amazing show of folk and barolk music. Yes, I am spelling baroque like that on purpose. I think it’s fun 🙂 If you’re interested, look up Brian Finnegan and his tune Joy on any streaming platform and have a listen. It is so beautiful. Also, this summer I finally got to work with Maeve Gilchrist, and went down a rabbit hole of her incredible music. Another group of friends are in a band called Hawktail, and I think my dear friend Trent and I have almost punched holes in the roof of both of our cars, sending our fists into the air during their amazing tunes. I am also super fortunate to be planning a lot of programs in my life, whether it be for an orchestra that I’m conducting and directing, or providing advice for a friend, or future festivals. This means I just end up listening to a ton of music that I may or may not play and program for those reasons. And, I always try to look for recordings with friends on them, because that just warms my heart.  As for watching things, I do love movies, especially ones with a true story element. It’s nice to turn off my brain sometimes at the end of the day, because otherwise I often just end up working and practicing late into the night. 

BB: What ability or skill do you wish you had, that you don’t have?

Edwin Huizinga: A skill I wish I had… A skill I wish I had is perhaps learning to invest? Work fluently with spreadsheets? Figure out legal jargon? I mean, these are all things I know I could learn. But the older I get, the more I realize that time is finite, so there is simply not enough time to learn everything, or do everything. I mean, I would love to be better at the piano, and be a wizard at Sibelius, instead of pretty slow going… but also, I do get it done!!! And being a music engineer… I would love to get in front of a mixing board and really know what I am doing. I mean thank goodness for all my years playing the indie folk band the Wooden Sky. I learned a ton about recording, but still, so much of it is a mystery to me. I do also love working with people that are masters in their craft and soaking in the knowledge that they have dedicated their lives to. I mean what an awesome feeling, walking into a room with so many different people with different skills and being on the same team. That is always a fun moment when it comes to board meetings, artistic planning meetings, and conferences! 

BB: When you’re just relaxing and not working, what is your favourite thing to do?

Edwin Huizinga: I love going out for the best possible cortado I can find, with friends, or even on my own. I love hiking and getting lost among the trees, or sitting by the ocean. This past summer in Carmel, I often went down to the ocean late in the evening, after the concerts, and after the receptions, and just marvelled at the beauty of the ocean. I also find it so interesting that it is so beautiful at night under a new moon, or a full moon, and yet there is almost never a soul on the beach at that hour. Probably because most of the other people in the town are getting a reasonable night’s sleep and preparing for their next early morning of work or rehearsal. (Not a bad idea) However, for me it always takes me a while to come down from concerts, and being next to the ocean, or in the trees has an incredible calming effect and feels very nurturing to me. I also love cycling and having a musical jam session with friends. It has also been said I make a mean veggie lasagna, and I really enjoy spending time in the kitchen. 

BB: Are you more of a dog person or cat person?

Edwin Huizinga: Well, I started the interview off by talking about my dog Robin, who was a golden retriever we had when I was a child. So I am definitely a dog person. I love snuggling, and cats are great snugglers too. We had a few cats growing up too. Indoor and outdoor cats. I also lived with a cute cat chicha for several years with my ex Jennifer. I have often thought about how I would need to shift my career to have a dog at this point in my life. We shall see where that idea goes. If anyone needs a dog sitter, please let me know.

BB: What was your first experience of music ?

Edwin Huizinga: What was my first experience with music? I am not sure if I have any idea. I bet it was my sister, Linden playing piano and also the classical music we listened to in the house. My sister is five years older than me and would have been playing piano before I even knew how to walk. And for a few years, we had the same piano teacher, Sylvia Hunter, who would tell us stories about her studio mate Glenn Gould way before I really understood the magnitude of how cool those stories really were.  We also listened to Tchaikovsky, Bach, and all the great oldies of classical music on CBC radio.  I think my initial experiences of music all come from at home and around my family, until I started heading to Guelph every week to study Suzuki violin.  

BB: What is your favorite melody / piece of music?

Edwin Huizinga: My favorite melody, that question makes me smile, because to any of my friends that spend a lot of time around me, they would probably just sing one of the many noodles I play on the violin constantly, and daily,  and have been for years and years. I just love to noodle or fiddle around with notes and tunes. And so many people ask what it is that I am playing, and I just have no idea, I just love putting notes in fun places and trying intervals that I love, and making people smile. A favorite tune of mine for a while has been Unless, by Hawktail which I recorded on a trio album a few years ago.

BB: When did you start studying violin? 

Edwin Huizinga: I started playing the tiniest of violins when I was five. I say tiny, because many people when they see me for the first time, they are surprised. I’m tall, and I don’t slouch, and stand at 6 feet and five inches, and I have a big presence. Sometimes it is difficult for people to understand that I started when I was small, short, and skinny. I was a late bloomer as they sometimes say. Just on the street, I sometimes get a, “Oh wow, are you a linebacker?” In all honesty, I’m not entirely sure what position that is, but no, I have never played football. Only the European kind growing up, as both of my parents are Dutch, and I do love soccer. Anyways, I mention my size now vs my size then because it is funny to recall how many people have asked why I don’t play bass. I will say, this never really comes up once I start playing the violin. I think this is because the violin is an extension of me, and a very treasured compliment from others is always when someone mentions that the violin sounds and looks and feels like an extension of who I am when I play. Thank you to all of you that have told me something of the sort over the years. I appreciate you all so much. One funny story that comes to mind is when I was in Malaysia with the Tafelmusik Baroque Orchestra on tour, one of my favorite bands in the world. I was backstage warming up under those huge Patronus towers, and several people came up to me very excitedly, squealing, excited, and asked for my autograph. I was super surprised, especially with all of my other amazing colleagues around me, and then after further discovery, I realized that they thought I was the “undertaker”. Now at the time, I had no idea who that was, but after some research I realized this person was part of the wrestling world, the WWF I believe. However the only WWF I ever knew growing up, was the one with the logo of a panda on it, so I was just very confused. Anyways, to their dismay, I was only a baroque violinist, traveling all the way from Toronto, Ontario, Canada, to play Galileo, a memorized program that Jeanne personally invited me to be part of. A huge moment in my life, performing that project with Tafelmusik.

Also big kudos to Alison Mackay for dreaming it up! All this to say, I started when I was small, on a little farm in Puslinch, Ontario, with a 30-minute lesson per week with Linda Drennan, one of the most wonderful violin teachers. AND, if I may, a big shout out to Bruce Skelton, and Daphne Hughes. Two other extremely influential teachers in my very young musical life. Then, I started learning my dance moves from Mark Fewer, a teacher and friend who is still a big influence and someone I really enjoy playing with whenever I get a chance. Thank you Mark! 

BB: Do you ever feel conflicted, reconciling the business side and the art?

Edwin Huizinga: Wow, I would like to take another moment to thank you Leslie for these questions. They are very well thought out, personal, and deep. Thank you.

BB: I am asking perhaps because it’s something I struggle with myself, and seems to be pertinent to a country where so many artists are struggling. I think it’s especially important to hear from someone like you: who seems to be coping so well, reconciling the different aspects masterfully.

Edwin Huizinga: Do I ever feel conflicted, reconciling the business side and the art? That is a profound question. And one that I will likely have a very different answer to every decade of my life. In my early career, I basically just said yes to everything. I wasn’t thinking of the business side at all. I sometimes printed business cards, but would always forget to give them out, and the times someone would ask me for one, I would never have them with me. In fact, I have thought about where my life would be if I would have networked more as a younger person. Who knows. My early career involved baroque, classical, contemporary, rock, improvisation, folk, you name it. I was all in for learning about and experiencing all the genres. Now, I’m in my fourth decade on the planet, and I have a position at the Oberlin Conservatory. This, and some positions in the Artistic Director role keeps me very busy. However, I’m not yet entirely answering the question of feeling conflicted. And I do not think I do feel that way. Ever since I started performing, I always enjoyed inviting people to my shows. Music is magic to me, and I want everyone to come to the magic show. So, whether it was me giving tickets away to all the baristas while on tour with The Wooden Sky, or whether it was me starting a small series in Toronto called Stereo Live at the Campbell House Museum with Keith Hamm, and recalling that every show we ever did was SOLD OUT, that was important to me. I wanted to share what my colleagues and I worked so hard on. Performing is a drug. It’s a wonderful drug, and it’s also addictive, and you need to learn to navigate it like any other drug. For example, you should probably not drink a million coffees a day, for example. The business end of it always feels and has felt for me important, and part of the conversation.

As the Artistic Director of Sweetwater Music Festival many of my conversations with Natasha Bood (our GM) are about business, and I love those conversations. Setting ticket prices, free concerts, engaging.

These things are all crucial. Now, it’s true that as an individual artist, you really can’t do it all. Especially if the projects start taking off. I’m very grateful for my management now. They do incredible work, on multiple fronts. That helps a lot. At some point in your life, the emails and work will overwhelm you. If this is happening to any of you reading this, you are not alone. Oh my goodness, you are not alone, and it’s okay. No one can do everything. And, you can always ask for help – from me included!!!

BB: Tell us about the highlights of the upcoming summer festival 

Edwin Huizinga: Oh wow. The juicy bit. I get to talk about the upcoming Sweetwater Music Festival! I’ve been dreaming about festivals and programs and music since I started playing violin, so this wonderful world of Artistic Direction is pretty fun. One of the most beautiful sandboxes to play in. This year is no exception. We are coming off of a serious high from last year, our 20th anniversary where I invited the inimitable Mark Fewer back to perform with a stellar group of artists from around the world – heavily Canadian of course. This year one of my goals was also to bring back Canadians from their international careers to come back to their homeland, or one of their homelands. One of the formidable players that exemplifies this is Karen Ouzounian. A terrific artist that plays cello, composes, sings, and shares from her heart. I had the great fortune of growing up with her at YAPA, the old version of the Taylor Academy at the Royal Conservatory of Music in Toronto.

This year is also about Serenades and Songs. That’s our theme. I am so excited to be bringing the Canadian Chamber Choir. This choir represents so many wonderful things about Canada, and the arts, and I get to share it with the Owen Sound community. That just feels AWESOME. Measha Brueggergosman Lee is also headlining the festival. She has over the years become a dear friend, and also just a force of nature that I greatly admire. We are both dreamers, and we also both get things done, and her coming to this festival feels incredible. It will be her second time since my tenure as AD, so the audience is prepped. I’m also inviting some new faces, and some of my dearest Sweetwater regulars. This is also important to me. Our audiences are fiercely loyal, and relationships are the be all and end all for, well, just about anything I do. Having the audience build friendships with these musicians is a big part of the festival, and then also surprising them with some new faces. That feels like a wonderful potion to keep the magic flowing in Owen Sound.

One of my favorite pieces on earth is the Tchaikovsky Serenade, so we will be performing that on the closing day of our festival. On the same program, we will be featuring a world premiere from our composer in residence Matthias McIntire. We are going to be weaving in and out of old and new throughout the festival. Sherryl Sewepagaham is coming as a headliner, thanks to the CCC and Julia Davids. This incredible singer is going to share some powerful pieces and stories with our audiences, and I simply cannot wait to welcome her with huge open arms to Owen Sound.

BB: An artistic director is a curator, a leader & manager.  What is the part you enjoy the most, what part is hardest ?

Edwin Huizinga: One of the most difficult things for me about being an AD is managing everyone’s time properly leading up to, and during the festival. Knowing exactly how much rehearsal time is needed for each piece and each person, and each ensemble is difficult. I don’t program easy repertoire, so things take time. One thing I have noticed in the world of juggling artists is that everyone has a different sense of timing, and of course if you are working on a piece that is important to you, you want to have all the time in the world. Navigating those moments is never that difficult however, because the artists involved are so intuitive, and  the vibe, and atmosphere is fantastic. Everyone understands the need for time management, and most are just glad not to be the ones worrying about that part. I also love hospitality… I mean I can’t do it alone, and thank goodness I have a wonderful volunteer force at Sweetwater with incredibly thoughtful members of the board and beyond. We have great breaks and lunches, and after parties. That part matters! Sitting down to a wonderful meal after rehearsing all day with your friends is absolutely a necessary part of the festival. I love being part of that, and helping make it happen. I hope to see some of you this September at Sweetwater!  

BB: You are a composer and a performer, a busy artist. Talk about how you approach promoting your different disciplines.  How do you do it?

Edwin Huizinga: For the first time in my life, I am working with a professional person on a new website. I have always made them in house, and by in house, I mean, first my dad, then me, and then my sister also helped me a lot. Then all of us, it seems, just got too busy. My priorities keep shifting, as they do, and a website, as important as it is, has been low on the list for a little while. I’m still working with a friend of a friend of course, because connections are important to me. I also really enjoy knowing the person who is helping me personally, and having interactions with them. Anything to do with art is personal I think, and so even a website that is being developed by someone else, I think they need to get your vibe. I am currently having trouble figuring out what to promote in my life. I mean, I LOVE to teach, and Oberlin definitely wants me recruiting, although thankfully they have a wonderful name, and a big beautiful recruiting machine to help. I also love playing violin, composing, and conducting!!! I mean how do you gracefully promote all of these things on one website? Sometimes I think it might make me look like an artistic chameleon. That doesn’t even sound like a bad thing to me, but it is difficult for presenters and bookers to understand what they are getting. My two biggest touring acts right now are ACRONYM, my baroque band, and Fire & Grace, my folk and barolk duo. Luckily, they have their own websites, and people helping with the promotion machine. My philosophy in my life, and being an artist, is definitely old school. And I mean way old school. Back in the baroque era an  artist was busy doing all kinds of things. There was no distinction between a composer and a performer, because that didn’t exist, to the best of my knowledge. Everyone wrote a bit, played a bit, directed a bit. I mean, I recently conducted Beethoven’s sixth symphony with the Guelph Symphony and did a ton of reading about it. Beethoven had to hustle pretty hard to get people to come to that premiere. So he was not only a performer, and a composer, but a conductor, and a promoter. I love exploring the folk world more and more, and its similarities to the baroque world, and beyond that. This is part of who I have become as an artist, and also how I teach. I have been developing a new class at Oberlin Conservatory with my colleague Mark Edwards called Historical Improvisation. Improvisation to me is part of being an artist. This course takes old historical techniques to bridge the gap for young musicians to begin the exploration of improvisation. I have also started a fiddle ensemble at Oberlin to give conservatory students a chance to play tunes with each other, and just JAM!!! The feeling of jamming on a sixteen-bar tune with your friends with all your heart and soul, I believe, needs to be part of your musical education on every level. 

BB: electronic or paper? as a composer and as a performer, do you prefer to work with a pencil and scores, or electronic notation?

Edwin Huizinga: I always start writing with my violin and bow, I noodle around, then I grab a piece of paper and write some ideas down, and then I get to the computer and open Sibelius. I will take this moment to give huge props to Chris Bagan, who to this point in my career has been a magnificent help and source of inspiration and mentorship with all things related to composing, arranging, and orchestrating.

Chris, if you ever read this, you are the man.

Another question is my method. My method is so irregular. It has everything to do with my mood, and the project, and the people involved. Then I just try and let go. Let the ego go, let the worries go, and just be me. 

BB: do you have any ideas about reforming / modernizing classical music culture to better align with modern audiences

Edwin Huizinga: I’m on a story kick these days as far as speaking about the concept of modernizing classical music culture goes. Modern audiences, to the best of my knowledge and experience, just want connection. And connection comes through relationship and story. I love what Bill Barclay is doing with Concert Theatre, and I also always try to speak to my audiences, and think about the emotional journey, and all the things you want to consider if you’re really trying to grab someone’s attention and interest! I also feel like people really want to know who you are as a person. I know that is vulnerable, and of course you have to have boundaries for yourself and your colleagues, but a little taste of who you are goes a long way. I see it every day when I’m producing things, or bringing ideas forward at a meeting, or anything. Connection, relationships, and story. That’s the answer in my opinion.

BB: Reflect on the difference when you take music out of the city to a Summer Festival

Edwin Huizinga: I love the idea of bringing music to various places, and  getting into the festival spirit. I think it gives you a lot of freedom. I think you can often dream bigger, and take more risks, and also, chances are, your audience is curious, trusts you, and is all in for different experiences. I have brought some very different things to Owen Sound already. Not to say I haven’t heard about it (!!), with some raised eyebrows but I have also heard many positive things. This year we will have premieres, as well as lots of group singing, and amateur jam sessions, and a lot of community events. I’m also excited to bring some multimedia production to the festival this year, as well as events like lectures, artist chats, and times to socialize with each other. For me the key is thinking about what makes a wonderful community event, and what kind of music will inspire and excite the soul. 

BB: If you could tell the institutions how to train future artists, what would you change?

Edwin Huizinga: If I could tell the institutions how to train future artists, I would say, don’t forget, at any cost, to  mentor the individual human being that you have the opportunity to help along their own path. That is the biggest thing for me.  My path starting with the Suzuki String School of Guelph, and then coming to the Royal Conservatory of Music in Toronto, and then to Oberlin Conservatory, and then the San Francisco Conservatory, and then the University of California Santa Cruz, and then the school of life, those opportunities helped me so so so much. AND, there is nothing like the school of just doing it. Just saying yes to things, and taking a gig, and working with new people, and making things happen, especially making your own dreams happen. That’s HUGE. Sitting next to Elizabeth Wallfisch at the Carmel Bach Festival was a life lesson.

Having the opportunity to have a conducting lesson from Tito Muñoz, working with Simon Rattle, asking Bruno Weil about Beethoven, being invited to play with Tafelmusik by Jeanne Lamon, these things were just the most special. Almost every single thing I have ever done in my career is because of an incredibly wonderful, personal connection with someone I admire and respect. That is the magic of the world of music. Playing with A Far Cry, The Knights, Apollo’s Fire, Brandywine Baroque, and sharing time with Anner Byslma, there are so many moments. Guy Braunstein telling me I better get my act together as I spent a week listening to the Berlin Philharmonic rehearse and taking lessons. So many life lessons. Take it in, process them, learn from them, and then be you! What would I change? I mean hindsight is 20/20. I would be a little more disciplined maybe? Although the stories you make with your friends and family is so much of who you are. So I don’t think I would change much of anything. So far, it’s been a really beautiful journey. I do have a million more people I would thank though, but instead maybe I would just say, I hope I have given all of you a huge hug for all the help I have received along the way. I am literally the artist I am today because of all the love that has been offered and shared with me. Thank you. 

BB: What’s coming up next? Sweetwater Music Festival of course…

Edwin Huizinga: Oh wow, and things that are coming up? There are so many wonderful things. I cannot wait for the Sweetwater Music Festival! I cannot wait to welcome a new undergraduate class to my studio at Oberlin. I cannot wait to perform with my band ACRONYM and Fire & Grace. I cannot wait to find time to write more tunes and pieces, and dream up my next big projects with the Carmel Bach Festival. I also cannot wait to plan my next hike in the mountains, my next swim in the ocean, and my next moment with friends around an outdoor firepit. 

Thank you for this opportunity Leslie, and thank you all for reading.

*******

And thank you Edwin, as you continue this busy exciting life, likely returning to teaching in the fall, but first: Sweetwater Music Festival September 10-15. For further information click here.