Marijn Simons

Simons was born in The Netherlands on December 25, 1982.

He studied violin with Prof. Saschko Gawriloff, composition with Daan Manneke and James MacMillan and conducting with Ed Spanjaard, Jean- Bernard Pommier and Prof. Kenneth Kiesler.

Marijn Simons is Conductor and Artistic Director of the Simons Ensemble. Since 2012 he is Assistant Conductor at the Opernfestspiele in Heidenheim. During the 2013 edition of the Opernfestspiele Heidenheim Simons was Artistic Director of the bi-annual Zeitgenossen festival.

Simons has conducted amongst others the Stuttgart Philharmonic, Nuremberg Symphony Orchestra, Aachen Symphony Orchestra, Leipzig Symphony Orchestra, Staatsorchester Rheinische Philharmonie (Koblenz), Südwestdeutsche Philharmonie (Konstanz), Cappella Aquileia (Heidenheim), Audite Nova Ensemble (Heidenheim), St. Petersburg Chamber Orchestra, Yekaterinburg Chamber Orchestra, Mineralnye Vody Philharmonic, State Philharmonic Orchestra of Sibiu, Limburg Symphony Orchestra, Nieuw Amsterdams Peil, the Simons Ensemble, the Czech Philharmonic Choir Brno and the New Music Ensemble Aachen. With the Kharkiv Philharmonic Simons conducted the first performance in the Ukraine of Mahler’s Symphony no. 1 including the symphonic movement Blumine.

Simons has also performed worldwide as a violinist. Highlights from his solo career include the world première of Villa-Lobos’s violin concerto Fantasia de Movimentos Mixtos with the National Symphony Orchestra of Mexico conducted by Enrique Diemecke, the Italian première of Milhaud’s 2nd violin concerto with the Orquesta Sinfónica Siciliana and the Dutch première of MacMillan’s violin concerto A Deep but Dazzling Darkness with the Radio Chamber Orchestra conducted by the composer. Simons also played as a Concert Master with several German orchestras including the Aachen Symphony Orchestra, WDR Radio Orchestra Cologne, Nuremberg State Philharmonic and at the Deutsche Oper am Rhein with the Düsseldorf Symphony Orchestra and the Duisburg Philharmonic.

Simons’ compositions have been commissioned and performed by such conductors and soloists as Esa-Pekka Salonen, Marin Alsop, Peter Eötvös, James MacMillan, Marcus Bosch, Christian Lindberg, Evelyn Glennie, Dorothee Oberlinger and by orchestras and ensembles such as the Los Angeles Philharmonic, Cabrillo Festival Orchestra, Rotterdam Philharmonic, The Hague Philharmonic, Netherlands Radio Philharmonic Orchestra, Aachen Symphony Orchestra, Prague Chamber Orchestra, Vietnam National Symphony Orchestra, Cuarteto Latinoamericano, Tambuco Percussion Ensemble, Amsterdam Sinfonietta and the 12 Cellists of the Berlin Philharmonic.

Simons was Composer-in-Residence at the Orlando Festival, Delft Chamber Music Festival, Cabrillo Festival and the Zeitgenossen festival. His compositions have been performed at concert venues such as the Concertgebouw Amsterdam, Konzerthaus Dortmund, Cologne Philharmonic Hall, Walt Disney Concert Hall (Los Angeles), National Centre for the Arts (Mexico City) and the Hanoi Opera House.

October 2014 saw the world première of his first opera ‘Emilia Galotti‘ commissioned by the Koblenz Theatre.

He has received the Philip Morris Arts Prize, Limburg Culture Award, Wim Bary Perspective Award and his composition ‘The City of the Soul‘ has been awarded Best Dutch Choral Composition in 2001.

Latest publications

Gerard Beljon

Gerard Beljon was born on April 16, in 1952 in Utrecht, The Netherlands.

Beljon studied lute and guitar at the conservatories of Utrecht and The Hague with Hans Verzijl and Toyohiko Satoh, respectively. He also studied composition with Carlos Michàns and Daan Manneke.

Many of Beljon’s compositions were written for ensembles and soloists such as the Nieuw Ensemble, the Nederlands Kamerkoor, Orkest De Volharding, the Amsterdam Quintet, pianist Ralph van Raat, and Duo Subiaco. Beljon’s works were performed in Holland as well as in Germany, Austria, the United States, Russia, and Australia.

Being interested in the clear form and structure that is so evident in many medieval, renaissance and baroque compositions, I try to translate some of these qualities into my own music. I also combine techniques of 20th century notated music with influences of pop-music. In this way I can create a new music that appears to sound interesting to many people.” – Gerard Beljon.

The Bronson Piano Studio described his work, Beats, as follows: “The other work by a Dutch rock/classical musician, Gerard Beljon’s ‘Beat‘ turned out to be the virtuoso event of the evening. It was receiving its U.S. premiere, and deserves to give San Jose a spot in musical history on this account. Described as a Toccata with funk sections, it was full of the repeated notes and rhythmic drive typical of a toccata, with extreme rapidity and dynamic extremes and episodes of orchestral grandeur, leading to a climax that carried the excitement of the finale of Prokofiev’s 7th Sonata to the next level, which would previously have seemed inconceivable.

Some other popular works of Beljon include: ‘De tuin sneeuwt langzaam vol‘ for chamber choir a cappella (2000), ‘Nachtzien‘ for chamber choir a cappella (2000), ‘Something Wicked‘ for flute, piano and samples (2002), ‘The cry of the peacocks‘ for mixed choir (2005) with a poem by Wallace Stevens (1879-1955), ‘De Noordewind‘ for mezzo-soprano, choir and 2 accordions (2012), and ‘Rat race‘ for clarinet, violin, cello, and piano (2012). In addition to this, Beljon worked on several theater productions and wrote the children’s opera, ‘Hansel and Gretel‘ (2001). This opera has received many positive reviews in for example De Volkskrant, Het Parool, Algemeen Dagblad, NRC and the Twentse Courant.

Aroma‘ (1997), for guitar and mandolin, was awarded the First Prize for Composition in the competition for contemporary music in Vienna.

Latest publications

Svyatoslav Lunyov

Born April 19, 1964 in Kyiv (Ukraine). Among the performers of his compositions: National Symphony Orchestra (Ukraine),
Kyiv State Philharmonic Orchestra (Ukraine), Kyiv Symphony-Pop Orchestra (Ukraine),
National Radio Symphony Orchestra (Ukraine), Camerata Kyiv Chamber Orchestra (Ukraine) ….

Svyatoslav Lunyov was born on April 19, 1964 in Kyiv (Ukraine).

In 1993 he graduated from Kyiv State P. Tchaikovsky Conservatoire (the class of composition, leaded by professor L. Kolodub). Since 1998-2001 he is a post-graduate student at the National Music Academy of Ukraine.

Svyatoslav Lunyov was teaching composition lessons at the Children Arts School №2 in Kyiv in the years 1993-2001. Since 1999, he has been a lecturer at the National Music Academy of Ukraine (Music Information Technologies Department).

Svyatoslav Lunyov is the member of Ukrainian Union of Composers since 1994. He also released a CD in 2006, which is called “Para Pacem Para Bellum” (Quasi Pop).

He is an author of symphonic, chamber, choir, vocal and electro-acoustic musical works and also some cinema-music.
His compositions were performed at the following festivals:
– International Youth Music Forums, (1993-1998, Kyiv, Ukraine)
– “Music Premieres of the Season” Festivals, (1994-2010, Kyiv, Ukraine)
– “Mystets’ke Berezillya” International Festival, (1997, Kyiv, Ukraine)
– Kyiv-Music-Fest (1997-2010, Kyiv, Ukraine)
– “Contrasts” International Contemporary Music Festival, (2000, 2004, Lviv, Ukraine)
– “Two Days & Two Nights” International Contemporary Music Festival
(2003, 2004, 2007, 2009 Odessa, Ukraine)
– “Fest Contemporary Sacred Music” (2006, Ujgorod, Ukraine)
– “Gogolfest” the festival Contemporary Arts (2009-10, Kyiv, Ukraine)
and also on concerts outside Ukraine — in Russia, Ireland and Serbia.

Among the performers of his compositions are the National Symphony Orchestra (Ukraine), Kyiv State Philharmonic Orchestra (Ukraine), Kyiv Symphony-Pop Orchestra (Ukraine), National Radio Symphony Orchestra (Ukraine), Camerata Kyiv Chamber Orchestra (Ukraine), “Kyiv” Municipal Choir (Ukraine), National Culture University Choir (Ukraine), “MusikFabrik” Contemporary Music Ensemble (Germany), ”Silk Road” Duet (Germany), ”Ricochet” Contemporary Music Ensemble (Ukraine) and Ensemble “World’s Harmony”. Some conductors of these performances are Vyacheslav Blinov, Viktor Ploskina, Volodymyr Syrenko, Valery Matyuchin (Ukraine), Fedir Gluschenko (Russia), Veronique Laqroix (Canada) and Dermot Dun (Ireland).

Svyatoslav Lunyov has received many awards:
– At Ukrainian Composers’ S. Rachmaninov Competition (Kyiv, Ukraine, 1992);
– At the Ukrainian competition for young composers GRADUS AD PARNASSUM (Kyiv, Ukraine, 1993);
– The L. Revutsky Prize of the Ministry of Culture of Ukraine (1997);
– The B. Lyatoshinsky Prize of the Ministry of Culture of Ukraine (2007).

Latest publications

Vladimir Martynov

Vladimir Martynov studied piano as a child. Gaining an interest in composition, he enrolled in the Moscow Conservatory where he studied piano under Mikhail Mezhlumov and composition under Nikolai Sidelnikov, graduating in 1971.
In his early works, such as the String Quartet (1966), the Concerto for oboe and flute (1968), Hexagramme for piano (1971), and Violin sonata (1973), Vladimir Martynov used serial music (or twelve-tone) technique.

Vladimir Martynov studied piano as a child. Gaining an interest in composition, he enrolled in the Moscow Conservatory where he studied piano under Mikhail Mezhlumov and composition under Nikolai Sidelnikov, graduating in 1971.

Martynov is known as a serious ethnomusicologist, specializing in the music of the Caucasian peoples, Tajikistan, and other ethnic groups in Russia. He studied medieval Russian and European music, as well as religious musical history and musicology. It also allowed him to study theology, religious philosophy and history. Vladimir Martynov began studying early Russian religious chant in the late 1970s; he also studied Renaissance music of such composers as Machaut, Gabrieli, Isaac, Dufay, and Dunstable, publishing editions of their music.

In 1973, Martynov got a job at the studio for electronic music of the Alexander Scriabin Museum. For Soviet composers of this era, this studio provided a meeting ground for the avant-garde musicians.

Also, Martynov helped to form a rock group called Boomerang at the Scriabin Studio. For them he wrote a rock opera ‘Seraphic Visions from St. Francis of Assisi’ (1978). At about this time, he began teaching at the Academy of Trinity Lavra of St. Sergius in Sergiyev Posad.

Martynov has also authored several books and seminal articles on musical theory, history and philosophy of music.

In his early works, such as the ‘String Quartet’ (1966), the ‘Concerto’ for oboe and flute (1968), ‘Hexagramme‘ for piano (1971) and ‘Violin sonata’ (1973), Vladimir Martynov used serial music (or twelve-tone) technique.

He became interested in the brand of minimalism developing in the Soviet Union in the late 1970s: a static, spiritually-inspired style without the shimmering pulse of American minimalism. There was a period of consolidation in the early 1980s where he wrote music specifically tailored for use in church services, then resuming writing original music in his minimalist style. Among his works from this period is ‘Come in!’ for violin and ensemble of 1988 which was performed by Gidon Kremer and by the composer’s partner, Tatiana Grindenko.

Since the fall of the Soviet Union, he has written works that take on large Christian themes, such as ‘Apocalypse’ (1991), ‘Lamentations of Jeremiah’ (1992), ‘Magnificat’ (1993), ‘Stabat Mater’ (1994), and ‘Requiem’ (1998).
One of his major compositions is a nearly hour-long piece called ‘Opus Posthumum‘ (1993), devoted to the idea that “a man touches the truth twice. The first time is the first cry from a new born baby’s lips and the last is the death rattle. Everything between is untruth to a greater or lesser extent.” He also composed a much shorter Opus Prenatum and a work called ‘Twelve Victories of King Arthur’ for seven pianos (1990).

He has recordings on Le Chant du Monde’s imprint “Les Saisons Russes” and on the Moscow-based independent label LongArms Records.

In 2009, London Philharmonic gave the world premiere of his opera ‘Vita Nuova’. Martynov’s composition ‘The Beatitudes’, as performed by Kronos Quartet, featured in La Grande Bellezza (The Great Beauty), the winner of the 2014 Academy Award for Best Foreign Language Film.

Latest publications