Dmitri Kourliandski

Dmitri Kourliandski was born in 1976 in Moscow. He graduated from the Moscow Conservatory and completed post-graduate course led by Leonid Bobylev. His compositions won several prizes at the international composers competitions

Dmitri Kourliandski was born in 1976 in Moscow.

He graduated from the Moscow Conservatory and completed post-graduate course led by Leonid Bobylev.

In 2008, he was artist-in-residence of the Berliner Künstlerprogramm and in 2010 – composer-in-residence of the 2E2M ensemble in Paris. Since 2012, he is invited to give master-classes and lectures in Austria, Italy, The Netherlands, Ukraine, France, Israel, Spain, Russia.

Dmitri Kourliandski is the founder and artistic director of the International Young Composers Academy in Tchaikovsky city. Co-founder of the Structural Resistance group (StRes). Musical director of the Stanislavsky Electrotheatre.

Since 2016, Dmitri performs together with sound artist Andrey Guryanov in an electronic open dance music duo KGXXX.

His chamber opera ‘Swerlians’ was staged by Boris Yukhananov in 2012 and 2015 in Moscow. In 2013, chamber opera ‘Asteroid 62’ was staged in Graz (directed by Barbara Beyer) and in Moscow (directed by Kapitalina Tsvetkova-Plotnikova). Opera ‘Nosferatu’, staged by Theodoros Terzopoulos, Jannis Kounellis and Teodor Currentzis in 2014 in Perm and in Moscow. Opera ‘Octavia.Trepanation’ is to be premiered at Holland Festival 2017, staged by Boris Yukhananov.

Portrait CDs were published at the FANCYMUSIC and Col Legno labels.

He collaborated with such musicians as Teodor Currentzis, Fedor Lednev, Philipp Chizhevskiy, Susanna Mälkki, Roland Kluttig, Reinbert de Leuw, Beat Furrer, SWR orchestra, Stockholm New Chamber Orchestra, MusicAeterna orchestra, Moscow symphony orchestra, Yekaterinburg philharmonic orchestra, ensembles 2E2M, InterContemporain, KlangForum Wien, Contrechamps, Phoenix, Collegium Novum Zurich, Schoenberg/ASKO, Recherche, l’Itineraire, KNM, Elision, Nadar, Quatuor Diotima, MCME, Studio for New Music, N’Caged, QuestaMusica and many others.

His music is heard at Donaueschinger Musiktagen, Ruhrtriennale, Venice biennale, Holland festival, Huddersfield festival, Musica Strasbourg, Wien Modern, MaerzMusik, Acht Bruecken, Archipel, Musikprotokoll and many other festivals and concerts in Europe, South and North America, Asia and Australia. He has received commissions from many Russian and European festivals, ensembles and foundations.

His works are published by Donemus, Editions Jobert and Le Chant du Monde.

Current projects include performance installation ‘Commedia delle arti‘, commissioned for the Venice Art Biennale Russian pavilion 2017; Performance installation ‘Sous-vide’ together with Alienor Dauchez for Sequence Dance Paris, to be performed at Le Peniche la Pop; New piece for ensemble Proton Bern and a new piece for Donaueschinger Muziktage 2017 for solistenensemble Kaleidoskop.

His compositions won prizes at the international composers competitions, including the Gaudeamus Prize 2003, Gianni Bergamo Classic Music Award 2010, Johann Joseph Fux opera composition competition 2011, Andrey Voznesensky foundation “Parabola” prize 2016, Franco Abbiati 2017 Prize of Italian music critic.

Latest publications

Dutch Music Days in Russia

Traditionally, Dutch music and Dutch musicians take part in the prestigious Andrey Sacharov art festival in Nizhny Novgorod, one of the biggest Russian cities on Volga river. This year Dutch music will be represented by the Russian premiere of Canto Ostinato for orchestra, Anthony Fiumara’s arrangement of Simeon ten Holt’s famous piece, which just recently had its world premiere by the Residentie Orkest. Further on the program will be De Vogels by Alphons Diepenbrock and Goldrush Concerto by Jacob ter Veldhuis which will be performed by the Nizhny Novgorod Symphony Orchestra and two percussionist soloists: Dutch Tromp winner Dominique Vleeshouwers and soloist of the Mariinsky theater Sergey Buranov.
The Second Dutch music Day will be held in NCCA Arsenal, culminating with with the evening performance of Canto XL – this version bringing together the Dutch-Russian ensemble accompanied by the movie Holland from Above and its amazing minimalistic views of the Netherlands. Donemus will also give a presentation about Dutch music scene, authors’ rights, and music publishing.


Calliope Tsoupaki

Calliope Tsoupaki makes music that has a mood of timelessness. Her objective is expressing the essence as simply and clearly as possible. In her compositions she uses elements of early and contemporary music as well as the music of Greece and the Middle East. Combing these aspects, she skillfully creates a completely personal style.

Calliope Tsoupaki was born on May 27, 1963, in Piraeus (Greece). She has been living in the Netherlands since 1988 and teaches composition at the Royal Conservatory of The Hague.

Calliope Tsoupaki makes music that has a mood of timelessness. Her objective is expressing the essence as simply and clearly as possible. In her compositions she uses elements of early and contemporary music as well as the music of Greece and the Middle East. Combining these aspects, she skillfully creates a completely personal style. Her music is praised for its melodic character, warm sound and emotional quality. To date her oeuvre consists of more than 100 works for diverse instrumentation and instruments from different cultures (qaunun, ney, kemençe, hurdy gurdy, vielle, viola da gamba), from solo to orchestral works, choral music, dance, theatre, opera and multisensory projects.

She has developed into one of the defining composers of Dutch musical life, collaborating with, among others, Pierre Audi, Paul Koek, Jordi Savall, Kees Boeke, Frances-Marie Uitti and ensembles including the Netherlands Bach Society, Ensemble Tetraktys, Neue Vocalisten Stuttgart, Asko|Schönberg Ensemble, Nieuw Amsterdams Peil, Ergon Ensemble and Moscow Contemporary Music Ensemble.

Overwhelming successes include her opera ‘Mariken in the Garden of Delights’ (nomination Matthijs Vermeulen Prize 2017), ‘St. Luke Passion‘, song cycle ‘Face of Love’ for singer Nena Venetsanou, oratorio ‘Oidipous‘ (nomination Matthijs Vermeulen Prize 2014), ‘Narcissus‘ (a play for music and scent), ‘Maria’ for the Netherlands Wind Ensemble, the chamber operas ‘Dark’ (about Joan of Arc, libretto Edzard Mik), ‘Vita Nova‘ (based on Dante’s book of the same title) and the string quartet ‘Triptychon’ for the DoelenKwartet.

Calliope Tsoupaki’s music is published by DONEMUS and is performed at contemporary music festivals (Holland Festival, Focus Festival NY, November Music, Gaudeamus), in major concert halls including Carnegie Hall and the Alice Tully Hall in New York, Megaron in Athens, Muziekgebouw aan het IJ, Stadsschouwburg in Amsterdam and is available on CD.

Her opera ‘Fortress Europe‘ (Opera Trionfo, Asko|Schönberg Ensemble & Nederlands Student Chamber Choir) is about one of the most important issues of our time: the refugee crisis. With an unprecedented number of scheduled performances, this work received rave reviews. The world premiere took place on March 20, 2017 during the Opera Forward Festival 2017 in Amsterdam.

In 2015, her opera ‘Mariken in the Garden of Delights’ (OPERA2DAY & Asko|Schönberg Ensemble) based on a late medieval Dutch text, also had numerous performances in the Netherlands and immediately met great acclaim.

– Commissions for the Holland Festival, 2015, 2014, 2010, 2008
– Member of the jury International Gaudeamus Music Week, 2015, 2006
– Composer in residence Sweelinck Conservatorium Amsterdam, 2001
– Composer in residence IEMA Centre Contemporary Music Athens, 1998
– Nomination NPS Cultural Prize, 1997
– Sappho’s tears nomination International Rostrum of Composers (UNESCO), 1996.

Latest publications

Vladimir Martynov’s Ballet Salome

Donemus proudly announces the privilege of publishing a huge oeuvre of the famous Russian composer Vladimir Martynov. The first performance to launch our cooperation is Martynov’s Schubert Quintet which will be performed as a part of a new production by the Stuttgart ballet Salome, based on the play by Oscar Wilde. Ten performances of the ballet will take place in the Stuttgart Opera House.

Salome has inspired not only Richard Strauss’ famous opera, but also numerous film adaptations and dance performances. For this occasion, choreographer Demis Volpi created for the Stuttgart Ballet a performance inspired by Wilde’s Salome. Its content is ideally suited for the implementation into dance; Volpi uses powerfully written characters – notably the namesake of the piece – and the charged atmosphere of the dance as a starting point.


Joey Roukens, Morphic Waves (World Premiere)

In this program, also bringing Mahler’s Rückert-Lieder and Brahms’ Fourth Symphony, Joey Roukens is appearing as the composer-in-residence of the Nederlands Philharmonisch Orkest. Joey Roukens composed Morphic Waves (conducted by the orchestra’s Chief conductor Marc Albrecht) especially for this concert. In this new work, Roukens gives percussion the central role. According to De Volkskrant, “Roukens is geen modernist. Hij put uit bronnen als Stravinsky, Orff of, recenter, Steve Reich en vooral John Adams, ook een aartseclecticus. Maar met die geleende elementen ontwikkelt hij een eigen betoog, waarin hij niet benauwd is stevig uit te pakken.”


Bernard van Beurden

Bernard van Beurden was born in Amsterdam on the 5th of December, 1933. He started playing the violin when he was 8 years old and at the age of 11 he wrote his first composition for violin and cello.
After secondary school he first studied violin and viola at the Amsterdam Conservatorium. He continued to study composition with Rudolf Escher and Ton de Leeuw.

Bernard van Beurden was born in Amsterdam on the 5th of December, 1933. He started playing the violin when he was 8 years old and at the age of 11 he wrote his first composition for violin and cello.

After secondary school he first studied violin and viola at the Amsterdam Conservatorium. He then went on to study composition with Rudolf Escher and Ton de Leeuw.

As a teacher van Beurden has worked in Amsterdam at the School of Music, the School for Theatre, the School for Drama and the Rotterdam Conservatorium. In addition to teaching aspiring professionals, he has also been involved with amateur musicians and ensembles as composer/educator.

Van Beurden has given countless workshops around the world in countries which include the Netherlands, Sweden, Austria, Germany, Poland, France, Portugal and the United States. In 1974 he wrote a book about practising contemporary music to be used for these workshops and in schools: “WERKBOEK VOOR MUZIEK VAN NU”, which has been translated into Swedish.

His compositions cover a wide variety of areas including:
* Chamber music for various instruments and ensembles;
* Choir music, a capella or with instrumental accompaniment;
* Compositions for wind orchestra, fanfare orchestra (brass instruments and wind ensembles), mainly solo concertos for wind players, string players, vocalists or combinations of these;
* Compositions for mandolin orchestra, sometimes in combination with instruments such as accordion, bassoon or soprano;
* Compositions for symphony orchestra, string orchestra, ballet and theatre.
Especially this last category plays an important part in van Beurden’s oeuvre. He has composed music for 21 plays as well as 7 works for music theatre, of which 4 were written for children. One of these Rumpelstiltskin from Lavenlots has been translated into German and Croatian. He has also composed music for 3 operas, of which ‘Esperanza’ was translated into Swedish.

He has written a number of compositions inspired by and based on political issues: for example ‘I am Ericka‘, ‘Soweto‘, ‘Grenzeloos‘, ‘Esperanza’, ‘Out of Europe’ and ‘Poems of Guantànamo‘.

His music is frequently performed in the Netherlands as well as in other European countries, Japan, China and the United States. Apart from in the Netherlands, his music is published in Germany, France and the United States.

Most of Bernard van Beurden’s works are written on commission, and the majority of his music has been composed with the financial support of the Foundation for the Performing Arts.

His recent works are written on commission by the Galakoor Amsterdam (‘Via Dolorosa‘, 2015), Voca Me (‘Luister naar mijn stem‘, 2014), the Nederlands Jeugd Strijkorkest (‘Memories‘, 2013), and The Royal Symphonic Band of the Belgian Guides (‘ANDERS’, 2013).

Van Beurden spent 7 years working as a programme maker and composer for Dutch radio, and in 1978 he won the RAI-prize of the Prix Italia for his Radiophonic Oratorio ‘Bajesmaf (Jail-crazy)’.

Bernard van Beurden was awarded the Royal decoration of “Officer in the Order of Oranje Nassau” on the 7th of December, 2003 for his exceptional services as a musician.

Willem Boogman

Willem studied Philosophy at the University of Utrecht (1974-1975). He started study in composition at the Royal Conservatory in The Hague (Peter Schat, Louis Andriessen) and completed it with Ton de Leeuw at the Sweelinck Conservatory in Amsterdam in 1983.

Willem Boogman was born in 1955 and grew up near the IJssel river (Netherlands).

Willem Boogman studied Philosophy at the University of Utrecht (1974-1975). He started study in composition at the Royal Conservatory in The Hague (Peter Schat, Louis Andriessen) and completed it with Ton de Leeuw at the Sweelinck Conservatory in Amsterdam in 1983.

Willem was from 1989 to 1999 member of the Rudolf Escher Committee.

Willem Boogman participated in the Asko Ensemble’s Workshop Project from 1980 to 1984, a collaboration between composers and instrumentalists. Through this project, he acquired knowledge of music in its broadest range.

From 1989 to1999 Willem was a member of the Rudolf Escher Committee.

Since 2003 he is artistic director of the Asko Kamerkoor (Asko Chamber Choir).

As a participating composer in Compose4You Willem wrote ‘Passacaglia for flute’ commissioned by an able amateur flutist.

Willem has also written several articles, for example on Escher’s choral music, on his own works ‘Genietingen’ and ‘La disciplina dei sentimenti’, and on modernism in music.
Willem is regularly invited to give lectures on various subjects related to music and composing.

For his compositions Willem Boogman searches into the fundamentals of music. He finds inspiration in Stockhausen’s theoretical work and Varèse’s music.

Boogman composes from ideas that are in direct relation with the current life. The sound of the stars (‘Sternenrest‘), the hours of a day (‘Day Daily – The Hours’), dance (‘Raving‘), the eternal joy of love (‘Canto gioiosamente / Liefde een woning‘).

Recently he started a series of compositions (‘modulationes’) in which he transforms existing music into another musical reality, for example ‘Distant Voices’ on riffs of popmusic, ’Intermezzi’ and ‘Ihr Tore’ both on pieces by Bach.

Willem composes orchestral works (Radio Filharmonisch Orkest), chamber music (Asko Ensemble, Slagwerkgroep Den Haag, Spectra Ensemble), and choral music (Nederlands Kamerkoor, Asko kamerkoor). He also writes for small ensembles, soloists (the series ‘Genietingen’) and for theatre (Toneelgroep Warns) as well as music theatre (in collaboration with director Sandra Macrander).

The Radio Filharmonisch Orkest (Netherlands Radio Philharmonic Orchestra) conducted by Reinbert de Leeuw premiered ‘Raving’ for orchestra and Electronic Dance Pulse, during the ZaterdagMatinee in the Concertgebouw in Amsterdam. The performance was broadcast by the Dutch Radio.

His three most recent works include ‘Genieting VI’ (for piccolo solo), ‘Nous le chant III’, a semi-scenic concert for mixed choir, accordion, organ and samples and ‘Distant Voices’ (for nine musicians).
These works are all published by Donemus, in 2015-2016.

Latest publications

Luc Brewaeys

Luc Brewaeys was born in 1959 in Mortsel (Belgium). He studied composition with André LAPORTE in Brussels, with Franco DONATONI in Siena (Italy) and with Brian FERNEYHOUGH in Darmstadt (Germany). From 1980 to 84 he had regular contacts with Iannis XENAKIS in Paris. He is also conductor, pianist and works since 1985 as recording producer at the VRT (Flemish Radio & Television).

Luc Brewaeys was born on August 25, in 1959 in Mortsel (Belgium) and passed away on December 18, in 2015.

He studied composition with André Laporte in Brussels (Belgium), with Franco Donatoni in Siena (Italy) and with Brian Ferneyhough in Darmstadt (Germany).

From 1998 to 2000, Luc Brewaeys was professor of composition at the Conservatory in Gent. He was also a conductor and pianist, and had been working as a recording producer at the VRT since 1985.

Luc Brewaeys received many commissions in Belgium and abroad. His works include among others 8 Symphonies, 2 String Quartets, Chamber and Solo pieces, some electro-acoustic (& mixed) works and one Chamber Opera ‘Antigone’. Luc’s music can best be described as “spectral symphonic” with (especially in more recent works) lyrical accents.

From 2002 to 2005 he recomposed the complete two books of the ‘Préludes’ for piano by Claude Debussy on commission of the Royal Flanders Philharmonic.

His most recent works include ‘Eppur si muove’ for ensemble (2014), ‘Ni fleurs ni couronnes: Monument pour Jonathan Harvey’ for violin with ghost-violins and -bells (2013) and ‘Fêtes à tensions: (les) eaux marchent’ for 20 players’ (2012).

Luc Brewaeys was awarded several prizes and distinctions. For example, he was awarded the First Prize in the category of young composers of the International Rostrum of Composers of the UNESCO for ‘.., e poi c’era…‘ Symphony n° 1 in 1986. Ten years later, the Belgian Musical Press awarded him two Prizes for the recording of his (up to then) entire symphonic work by the Royal Philharmonic Orchestra of Flanders, conducted by Arturo Tamayo, who conducted most of his music. For his entire work, he received the “Prix de Musique Contemporaine du Québec” in 1988 and the Cultural Prize “Blanlin-Evrart” from the Catholic University of Leuven in 1999.

Luc was composer in residence of the International Cultural Center deSingel for the ’88-’89 concert season and of the “Dicht bij huis” in Tilburg (The Netherlands) in 2001. From 1991 to ’92, he was composer in residence of the city of Saint-Nazaire (France) and for the season 2003-04 at the BOZAR in Brussels. In February-March 2009, he was in residence in Montréal, where he gave Masterclasses at the McGill University, at the Université de Montréal and at the Conservatoire.

Brewaeys was also one of the main featured composers at the Ars Musica Festival in 2004 and central composer of the “November Music” in 2007. In February 2007, his first opera (‘L’uomo dal fiore in bocca’), commissioned by the Belgian National Opera “La Monnaie”, got its widely acclaimed premiere in Brussels. Besides, he was invited by the Cantus Ansambl in Zagreb for workshops and a performance of ‘Cardhu‘ as part of the Re:new music project in 2009. In December 2008, Luc Brewaeys had been elected as member of the Royal Flemish Academy of Belgium for Science and the Arts, and in October 2009 as appointed guest professor of composition at the Conservatory of Rotterdam (The Netherlands).

Frédéric Devreese

Devreese received his first musical training from his father, the composer-conductor Godfried Devreese (1893–1972). He studied composition with Marcel Poot and conducting with René Defossez in Brussels, composition with Ildebrando Pizzetti at the Accademia Santa Cecilia in Rome from 1952 to 1955 and conducting with Hans Swarowsky at the Wiener Staatsakademie in 1955-56.

Frédéric Devreese was born June 2, 1929 Amsterdam.

Devreese received his first musical training from his father, Godfried Devreese (1893-1972), a composer and conductor. He studied composition with Marcel Poot and conducting with René Defossez in Brussels.

At the Accademia di Santa Cecilia in Rome he studied composition with Ildebrando Pizzetti from 1952 to 1955, and conducting with Hans Swarowsky at the Wiener Staatsakademie in 1955-56.

Frédéric Devreese has conducted orchestras all over the world. He has made various recordings for Marco Polo’s series “Anthology of Flemish Music”. Devreese has great interest in young musicians, whom he wanted to stimulate and promote by initiatives such as Tenuto, a national music competition for young talent.

The works of Devreese are very diverse. He wrote four piano concertos, a violin concerto, a cello concerto, a symphony and chamber music, two operas, ballet suites and songs.

In the course of his career he evolved from an irrepressible vitalism with jazz effects to a more universal style, which has deeper expression and more balanced structure.

His ‘Piano Concerto No. 4’ was the imposed work for the prestigious Queen Elisabeth International Music Competition in 1983. His ‘Ostinati’ for alto saxophone, accordion and strings was the imposed work at the International Competition Adolphe Sax in Dinant in 1998.

However, he is most famous for his many memorable film scores. He wrote essentially for André Delvaux, ‘Un Soir, un Train’, ‘Benvenuta‘, ‘Rendez-vous à Bray’ and for Marion Hänsel ‘Noces Barbares’ and ‘Il Maestro’. His film music would exert a major influence on his other works.

Prestigious ensembles perform his works: Anima Eterna, Koninklijk Concertgebouw Orkest, Brussels Philharmonic, Orchestre National de Belgique, Symfonie Orkest Vlaanderen,Oxalis, Spiegel Quartet, Soledad, Spiritango. His works are recorded on labels such as Marco Polo, Naxos, Emi, Milan, Barclay, Cyprès,Virgin Classics, Beriato.

At the age of nineteen, in 1949, he received the Prize of the Town of Ostend for his ‘Piano Concerto No. 1‘. Due to this, he was national noticed and received scholarships to study in Rome and Vienna.

Devreese has received several national and international awards, including the Prix Italia for his TV opera ‘Willem van Saeftinghe’n (1964), the Georges Delerue Award for ‘La Partie d’échecs Yves Hanchar’ (1994) and twice the Joseph Plateau Music Award for ‘L’ oeuvre au Noir, André Delvaux’ (1988) and ‘Het Sacrament, Hugo Claus’ (1990). In 2006 he was given the Klara carriere award and he is Maestro Honoris Causa of the Conservatory of Antwerp.

Latest publications

Rozalie Hirs

Rozalie Hirs (1965) is born in Gouda. She studied piano and voice from age 12 and 17 respectively. She completed a Master’s degree in chemical engineering at the Organic Chemistry Group of David Reinhoudt at Twente University in 1990; this included graduate work in reaction mechanisms and catalysis with Luigi Mandolini at the Universitá La Sapienza in Rome in 1990.

Rozalie Hirs is a contemporary Dutch composer and a poet. She was born on April 7, 1965, in Gouda, The Netherlands.

Hirs holds a Doctor of Music Arts degree from Columbia University, where she studied as a Fulbright fellow with Tristan Murail (1999-2002), and a Master of Music degree from the Royal Conservatoire, The Hague, where she studied with Diderik Wagenaar (1991-1994) and Louis Andriessen (1994-1998). During her time at the Royal Conservatoire, she also took composition lessons with Gilius van Bergeijk and Clarence Barlow. At Columbia University she taught harmony and counterpoint as a Teaching Assistant; her thesis consisted of the essay Tristan Murail’s Le Lac, and her composition ‘Platonic ID‘, a commission from Asko|Schönberg.

At the invitation of the Nieuw Ensemble, she developed and curated the course Contemporary Compositional Techniques and OpenMusic, which she taught at the Conservatorium van Amsterdam during the 2005-06 academic year, together with guest professors Tristan Murail, Mikhail Malt, and Benjamin Thigpen. In 2009 the book of essays on this subject, which she co-edtied with Bob Gilmore, was published as part of the Collection Musique/Sciences of IRCAM|Éditions Delatour in Paris. During the academic year 2010-2011, Rozalie Hirs was guest lecturer at the Composition Department at The Guildhall School of Music and Drama, London. She was also chairman of the jury for the Gaudeamus Music Prize in 2011.

Her debut publication as a composer, the CD Sacro Monte appeared in 1999 and met with critical acclaim. In 2007, her CD Platonic ID featuring instrumental compositions was released by Attacca Productions, Amsterdam. In 2010, the CD Pulsars followed, with electroacoustic works on original texts.

Her music and poetry are lyrical as well as experimental. The principal concerns of her work are the adventure of listening, reading, and the imagination. Her music consists of vocal, orchestral, and electronic compositions. She developed a highly personal spectral style, inspired, on the one hand, by the acoustic and psychoacoustic properties of timbre and sound, and on the other hand, by the clear classicist structures of The Hague School. She often combines traditional instruments with electronic sounds. Her poetry includes both printed collections and digital poetry: interactive poems created in collaboration with visual artists, and graphic designers.

Performers of her music include the Amsterdam Sinfonietta, Asko|Schönberg, the Bozzini Quartet, Klangforum Wien, the Netherlands Radio Philharmonic Orchestra, and Slagwerk Den Haag; she is herself a regular performer of her compositions for voice and electronic sounds, mostly for international festivals. Her music scores are published by Donemus Publishing, her CDs by Attacca Productions, and her poetry books by Singel Uitgeverijen|Querido.

Hirs’ compositions include commissions by the Amsterdam Sinfonietta (‘Lichtende Drift’, 2014), Arnold Marinissen (‘article 0‘, 2000), ASKO|Schönberg (‘Book of Mirrors‘, 2001; ‘Platonic ID‘, 2006; ‘Arbre Généalogique‘, 2011, ‘The honeycomb conjecture‘, 2015), Bozzini Quartet (‘Nadir‘, 2014), Formalist Quartet (‘Zenith‘, 2010), Holland Festival (‘Atlantis ampersand‘, 2015), the David Kweksilber Big Band (‘Ain Silabar Ain’, 2013), Netherlands Radio Philharmonic Orchestra (‘Roseherte‘, 2008), November Music (‘Nadir‘, 2014), NOW! Prismen (‘The honeycomb conjecture‘, 2015), Slagwerk Den Haag (‘Venus‘, 2010), and the VPRO broadcasting organization (‘Pulsars‘, 2007). All of these works have received financial support from the Netherlands Performing Arts Fund, VPRO, or Eduard van Beinum Foundation.

Book of Mirrors‘ (2001) received the Boris and Edna Rapoport Prize 2002 of Columbia University. ‘Roseherte‘ (2008) and ‘Zenith‘ (2010) were selected for Toonzetters as “one of the ten most beautiful compositions” of the previous year. Her work, Pulsars received the distinction ‘Recommended Work’ at the Rostrum for Electronic Music, Lissabon, Portugal, and was subsequently broadcast in twenty countries. Hirs has received a two-year composition stipend from the Netherlands Performing Arts Fund in 2012-2013, several travel and development fellowships, as well as financial support for almost all commissions by ensembles, orchestras, and soloists since 2000.

As a poet she has received awards and stipends for all her poetry books from either the Flemish Literary Fund, or the Netherlands Foundation for Literature. For her dissertation and subsequent book on microtonal systems in contemporary music she received an ‘Art and Sciences’ fellowship from the Prins Bernhard Cultuurfonds in 2003-05, and a fellowship from the Amsterdam University of the Arts in 2005-07. During her studies at Columbia University she was a Fulbright fellow and a fellow of Columbia University.

Latest publications