It is the go to festival for the best and off-the-wall contemporary music.

Supergroup orchestras, mind-bending operas, performances involving biotechnology and avant garde folk, jazz and electronica from around the world have all found a place on the stages of Huddersfield Contemporary Music Festival (HCMF), since it began 38 years ago.

This year Graham McKenzie will celebrate his 10th year in the curating job as artistic director of the festival, which he has continued to keep as one of the music world’s most renowned contemporary music events.

The 10-day event launches today with performances taking place at venues across the town and in Leeds for the first time.

Graham said: “It’s an honour to be a custodian of such a prestigious festival.

“The time has just gone so quickly.

“When I joined in 2006 I thought I’d be here for three years but there was always another project I wanted to do.

“I feel a real sense of responsibility to ensure that it can continue as such an event.

“I’ve been involved in curating contemporary arts events for 25 years but it’s nice to have the opportunity just to focus on one area and develop what’s a wonderful festival.”

Huddersfield Contemporary Music Festival

During his time so far he has focused on developing the public’s understanding of contemporary music.

“I always felt that if I changed one thing it was to broaden the definition of contemporary music.

“For me that includes everything from orchestral, non-mainstream genres, sound installations and much more.

“With my team I have also tried to bring down the average age of audiences and composers.

“I found that music people tended to see as contemporary related to composers from the 70s and 80s, so we’ve made a big effort to get up-and-coming artists to perform.

“Having them encourages more younger people to come along to watch as they get to watch their peers on stage, which can be very inspirational.

“When I took on the festival only five per cent of the audience were under 25 while now it’s about 25 per cent.”

Graham said he has also focused on developing composers’ opportunities through the festival.

“We’ve used our strong links to other countries to give British composers opportunities to explore new territories and are always looking to take the festival abroad.

Take a look at last year's festival below.

“In 2014 we held an event in Barcelona, have also held one in Mexico City and have plans for a three-day festival in Philadelphia next year.

“People look to our festival to platform the next big composer and trends.”

Graham has lauded the development of the HCMF shorts programme, which comprises free events.

“We started putting them on properly about six years ago in response to our international weekends which we hold at the start of the festival.

“They are such big events that I thought we had to follow them on the Mondays with something that wasn’t an anti-climax.

“We’ve extended it so that now it is a full day of free events and this year there’s a bigger family focus.

“They pull in new and local audiences who get an introduction to contemporary music and we’ve had a good rate of people then coming back the next year and buying tickets.”

He spoke about some of his highlights.

“I get so wrapped up in it it’s hard to pick certain things but I think winning the Philharmonic Society Award for best festival in 2009 was particularly special as it happened quite early on in my role.

“I’ve also enjoyed working with Bates Mill and seeing the development of the magnificent spaces there.

“Inviting emerging composers and seeing them develop and gain international success is also key.

“For example, this year we welcome back Huddersfield composer Naomi Pinnock, who we’ve supported for over five years and her profile has really started to rise.”

Naomi Pinnock

This year’s festival includes almost 50 free and ticketed performances.

Festival goers will have the chance to hear 25 world and 79 UK premiere pieces which cover genres as diverse as electronica, classical, psychedelica and reggae sound systems.

Meanwhile, one of the countries to be focused on will include Poland.

“I don’t like showcases so instead try to create long term partnerships which enables us to explore collaborations between British and international artists.

“I look at countries with younger composers who I think are about to emerge on to the international scene – it’s about deciding the right time to partner with that country.”

Go to www.hcmf.co.uk to see the programme and buy tickets.