Hildegard Westerkamp is a composer, radio artist and sound ecologist.
She presents soundscape workshops and lectures internationally, performs and writes.

"A magical fusion of sounds."
Globe & Mail, Toronto
  • "A magical fusion of sounds."
    Globe & Mail, Toronto
  • "There was more than just a hint of oracular mysticism in Westerkamp's art. There was a magic in those sounds.” Stephen Pedersen, Chronicle-Herald, Halifax
  • "Westerkamp's music balances a poetics of sound with social commitments that include feminism and environmental politics. Her compositions are critical enactments of acoustic space....All invoke attentive listening." Donna Zapf, Beiträge zur Neuen Music, Germany
  • "Westerkamp creates new possibilities for listening. One can journey with her sound to inner landscapes and find unexplored openings in our sound souls. The experience of her music vibrates the potential for change.”
    Pauline Oliveros,Kingston, N.Y., USA (about CD transformations)
  • "Mere words are inadequate to describe what took place when the symphony began....Waves of sound rolled back and forth across the harbour bringing thousands of downtown office workers to their windows. The Canada geese from Stanley Park were aroused and circled through the boats, honking loudly as they joined in." Ken Drushka, Harbour and Shipping) about the Harbour Symphony)
…narrative alchemy… The Wire, Issue 460

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Fantasie for Horns II performed at The Sound Festival, University of Aberdeen, October 22-25, 2020,

Fantasie for Horns II was performed at the Sound Festival, University of Aberdeen, October 22-25, 2020,

along with compositions by Bethan Morgon-Williams, Adrian Moore and Esa-Pekka Salonen,

in a concert entitled “Digital Horn” on October 23.

Ben Goldscheider, Horn & Pete Stollery, Electronics

For full festival program: http://www.sound-scotland.co.u...

Listen to concert online: https://www.youtube.com/channe...

Here is a review of the event:

Goldscheider’s earlier lunchtime concert (*****) pitted his remarkably focused, lyrical playing against live electronics from Stollery to magical effect. (It was all the more magical, in fact, because of its long-distance collaboration: Goldscheider had recorded his part alone in London, then emailed it to Stollery, who added the electronics separately.) The standout work among a concert of surprises was the 1978 Fantasie for horns II by Canadian Hildegard Westerkamp, which contrasted a live Goldscheider on orchestral horn against more prosaic signal horns recorded across the world – train horns, foghorns, factory horns, boat horns, even alphorns. It was a beautiful, deeply melancholy piece, brought wonderfully alive in Goldscheider’s supple, subtle performance, as though a refined concert instrument were calling for connection with its more functional siblings.
By David Kettle
Monday, 26th October 2020,
The Scotsman

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