Meet Canadian Composer Keiko Devaux
Keiko Devaux’s music is an exploration of sound, memory, and identity—an intersection of her past, present, and the world around her.
The Canadian composer has carved a space for herself in contemporary classical music with her unique ability to blend the traditional with the modern. With her award-winning composition Arras, Devaux has become a trailblazer, and her journey to the spotlight offers insight into the dedication and passion that drive her artistry.
Raised in the countryside outside of Nelson, British Columbia, Devaux’s upbringing was steeped in cultural richness, influenced by her Japanese-Canadian mother and French father. From a young age, she had a natural affinity for sound, a love that began with piano lessons at the age of five. But as she grew older, her musical tastes expanded. In the 2000s, she was active in the Canadian indie rock scene, performing in groups like The Acorn and Adam and the Amethysts.
However, it was in the world of composition where Devaux truly found her calling. After earning a Master of Music in instrumental composition and later, her PhD, from the Université de Montréal, she delved into the complexities of creating music that speaks to both her personal history and her broader artistic vision. In 2019, Devaux received the inaugural Azrieli Commission for Canadian Music, one of the Azrieli Music Prizes, the largest and most substantial award of its kind in Canada. It set her on a path that would culminate in her award-winning composition Arras.
Arras was inspired by the traditional songs of her family and the sounds of her childhood, infused with a sense of nature and memory. “What were the songs we used to listen to, the traditional songs of my heritage, I just started to pick up sounds and make connections,” she shares. “As composers, we don’t start from scratch. We begin with what has been implanted in our memory throughout our life.”
This personal connection to sound is at the heart of Devaux’s work. She describes herself as absolutely fascinated by sound in all its forms, constantly exploring new ways to evoke emotion and meaning through it. “If I hear a sound that I love, that inspires me to develop a piece,” she says. “I love exploring the sound from different angles.” Whether it’s the rhythmic patterns of ancient looms, the calls of birds or the hum of insects, Devaux’s compositions are shaped by the world around her.
In Arras, her exploration of sound takes on an ethereal quality. She finesses acoustic sound using digital tools and then re-introduces the sound back into acoustic musical notation. The piece is a rich tapestry that reflects both her Japanese and French heritage. “In a way, Canada is like a tapestry,” she says. “We are made up of different textures, different stories. That’s what makes us beautiful.”
Devaux’s journey into the world of composition took a significant turn with the Azrieli Commission for Canadian Music. This biennial prize is one of the largest and most prestigious awards for composers in Canada, offering $200,000 in total, including a $50,000 monetary award for the composer. For Devaux, this support allowed her to focus entirely on her creative work without the stress of financial strain. “You take really big steps when you are properly compensated,” she says. “You can rest. You can go to a museum. You can let your ideas simmer.”
The Azrieli Prize gave Devaux the time and space she needed to craft Arras with care and precision. “It was a really beautiful experience,” she says, reflecting on the time it took to create the composition. “It felt like an ideal situation to create a unique and memorable piece.” The result is a work that, following its world premiere, has gone on to many international performances. The Analekta recording of Arras was awarded the 2022 JUNO Award for Classical Composition of the Year, Keiko’s first. All of the above, and so many other accolades that have followed her AMP win, are recognition of not only the technical and musical brilliance Keiko brings to her work but the professionalism with which she pursues her career.
Jason van Eyk, Managing Director of the Azrieli Music, Arts and Culture Centre and a key organizer of the Azrieli Music Prizes, speaks highly of Devaux’s contribution to Canadian music. “Our jury could not have picked a better composer than Keiko to win the inaugural Canadian commission. The depth and care with which she has explored the complexity of Canadian identity exemplifies a core tenet of the Azrieli Music Prizes, which is to create intercultural understanding through music,” he says. “But it’s not just that. Keiko’s intense creative process, and how she harnesses emotional and cultural depth with impressive craftmanship, is truly inspiring.”
Beyond the music, Devaux’s story speaks to the power of women in the arts. As the first person to win the Azrieli Commission for Canadian Music, she acknowledges the challenges women composers face in being recognized and valued. “It’s hard for women to see themselves in the history of prizes, something that has really only shifted substantially in the last decade,” she reflects. But Devaux is hopeful that change is coming and encourages other women to apply for awards and recognition without hesitation. “You teach people how seriously to take you by what you apply for,” she says. “And what you win.”
Devaux’s journey is one of perseverance, passion and the unwavering belief in the power of music. As her compositions continue to resonate both nationally and internationally, including a recent performance in Japan, it’s clear that Keiko Devaux – who is also a new mom – is a name that will remain synonymous with innovation and excellence in the world of contemporary classical music.
For more information about the Azrieli Music Prizes, visit Azrieli Foundation AMP.
