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Jurriaan Andriessen

General
Jurriaan Hendrik Andriessen (15 November 1925, Haarlem – 19 August 1996, The Hague) was a Dutch composer, whose father, Hendrik, brother Louis, and uncle Willem have also been notable composers.

Education
Andriessen studied composition with his father Hendrik Andriessen and conducting with Willem van Otterloo at the Utrecht Conservatory, before moving to Paris where he studied with Olivier Messiaen.

Career
In the early fifties, Jurriaan performed as a jazzpianist, named “Leslie Cool”. He started working as a musical consultant and composer at the “Haagse Comedie” in 1957. Besides his work as a composer Andriessen also worked as a conductor, often from his own work, and he directed a.o. concert performances and ballets for television.

Compositions
Jurriaan had a variety of musical influences which he drew upon, including American film music, Aaron Copland’s ballets, folk music of various cultures, neoclassicism, and serialism; this eclecticism combined with his compositional skill made his writing well-suited to scoring dramatic works. His first stage composition was incidental music for “The Miraculous Hour”, a play premiered at the celebration of the 50th year of Queen Wilhelmina’s reign, in 1948. In 1954 the Haagse Comedie (now the Nationaal Toneel, or “National Theatre”) appointed him resident composer, where he wrote scores for Eugene O’Neill’s Mourning Becomes Electra and Tom Stoppard’s Rosencrantz & Guildenstern Are Dead, among numerous others.

His stay in the United States on a Rockefeller Foundation fellowship from 1949 to 1951 was a fruitful one for his orchestral writing, another notable area of his work; during this time he composed the Tanglewood Overture for Serge Koussevitsky, and the Berkshire Symphonies, later used as ballet music by George Balanchine. His compositions were commissioned for state celebrations, including the wedding and the coronation of Queen Beatrix and the silver jubilee of Queen Juliana.

In addition to the theatre works he is most noted for, Andriessen was also a prolific composer of chamber and vocal works, many of which were meant to be performed by amateurs; he has also been a director for television.
In his book “Nederlandse Muziek in de Twintigste Eeuw” [Dutch Music in the Twentieth Century], the musicologist Leo Samama evaluates Andriessen’s music as follows: “Most of the works of Juriaan Andriessen consist of music ‘à la manière de’ […] He was in fact able to playfully re-create any style and any technique […] As a composer of music for film, radio and television plays, and many other forms of occasional music, that is of course very useful.”

Awards
Jurriaan Andriessen was awarded the first Johan Wagenaar Prize with his work ‘The Miraculous Hour’. On commission by the city council of The Hague, Jurriaan composed the symphonic rhapsody ‘Thai’ on the occasion of the state visit of the King of Thailand in 1960, and was appointed Knight of the Order of the White Elephant. In 1972, Andriessen was appointed Knight in the Order of Orange-Nassau For his achievements in the field of theater music.

Hendrik Andriessen

General
Hendrik Andriessen was born on September 17, 1892 in Haarlem (Netherlands). The organist Nico Andriessen and painter Gesina Vester were his parents. He was raised in an artistic environment. Of his six children, Juriaan, Caecilia, and Louis also became composers. He died on April 17, 1981 in Haarlem.

Education
After the death of his father in 1913, Hendrik Andriessen is his successor as organist at St. Joseph’s Church. In that same period he starts writing his first compositions. Hendrik studied organ with Jean-Baptiste de Pauw and composition with Bernard Zweers at the Conservatory in Amsterdam.

Career
As an organist and composer, he gave attention to both sacred and secular music. Hendrik also worked as a teacher in music theory and composition at the Conservatory in Amsterdam, and in organ and composition at the Catholic Music School in Utrecht. In 1934, Hendrik started to work as an organist at Utrecht Cathedral and in 1937 as director of the Utrecht Conservatory. During World War 2, he writes a book about César Franck. Despite an official ban on carrying out its work, Andriessen still ranked among the five most played Dutch composers, along with Johan Wagenaar, Henk Badings, Alphons Diepenbrock and Karel Mengelberg. In 1949, Hendrik Andriessen started to work as the director of the Royal Conservatory in The Hague.

A year later, he writes his first book about music, named “Over Muziek” (About music). In his next book “Muziek en Muzikaliteit” (1952), he expresses his opinion that music shouldn’t be related to the biographic history of the maker: “The artwork is a portrait of itself and nothing else.”

Compositions
Andriessen’s musical language further embroiders on that of César Franck (another organist) and Albert Roussel with a variety of modern elements.”Bitonality (the simultaneous use of two different keys) plays a role in various of his later compositions, and themes built from the twelve tones in the octave reveal that Schoenberg’s ideas were not totally lost on him”. (Frits van der Waa in de Volkskrant) Andriessen was not a musical pioneer, but neither did he ignore innovation. His secular music is often described as reserved, but his sacred music is mildly innovative. Andriessen himself said: “I have never done my best for anything, not even for making new church music – though some say that I did some such thing. Well, I’m not so sure of that. I did only what I felt like doing”.

Awards
In 1950, Hendrik Andriessen received the Johan Wagenaar Prize. In 1961, he was awarded the Prof. van der Leeuw Prize and in 1962 the Sweelinck Prize.

One hundred years after his birth, the Hendrik Andriessen Centenary is celebrated throughout the Netherlands. During this Andriessen-year, the Haarlem Concertgebouw insert a chest sculpture of Henry at the age of 19.

Alexey Sioumak

General
Alexey Sioumak was born on November 28, 1976 in Krivoy Rog, Ukraine. He is currently living and working in Moscow as a composer and teacher.

Education
He graduated from the Moscow Conservatory (class of Professor Alexander Tchaikovsky) in 2002 and than he continued his education in the post-graduate course till 2004.

Career
Since 2005 he teaches at the faculty of composition at the Moscow Conservatory (polyphony, contemporary harmony, musical analysis).

He is a member of the Union of composers of Russia, a member of the Structural Resistance (StRes) and Sound Plasticity composer groups, a member of the arts Council of the Youth branch of the Union of Composers of Russia (the Hammer).

Compositions
Alexey Sioumak’s works have been performed at the leading contemporary music festivals in Russia, the U.K., Germany, the Netherlands, France, Norway, Finland, Slovenia, Austria, Italy, Poland, Japan, USA and other countries by the State Academic Symphony Orchestra of Russia, Russian national orchestra, State Symphony orchestra of the Novosibirsk Opera and Ballet theatre, the Moscow Contemporary Music Ensemble (MCME), the New Music Studio (Moscow), percussion Ensemble of Mark Pekarsky’s (Moscow), eNsemble (St.-Petersburg), Ensemble Modern (Frankfurt), the Schoenberg Ensemble (Amsterdam), de ereprijs (Apeldoorn), Academic Big choir “Masters of choral singing”, etc.

Among his compositions are chamber instrumental and choral compositions, music for theatrical production drama by M. Lermontov “Demon” (Moscow, 2007), the Opera “the Station” (Moscow, 2008), “NEMAYAKOVSKY” (Saint Petersburg, 2011), “Sverliytsy” (Moscow, 2014), music for the film “Walking in Berlin” (co-authored), music to performance “Kizhe” (the Moscow art theatre. Chekhov, 2009), the symphonic performance of “Requiem” for the 65th anniversary of victory day, Moscow, 2010), etc.

Awards
Alexey Sioumak is the winner of the First and Second prizes of the International competition for young composers. P. Jurgenson (2001, 2003, Moscow). Winner of the “Pythian games” (2006, St. Petersburg), winner of the “Action” (2007, Moscow).

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Alla Zagaykevych

General
Alla Zagaykevych (b.1966) is a Ukrainian composer of contemporary classical music, performance artist, organizer of electroacoustic music projects, musicologist.

Education
She graduated from Kiev State P.I.Tchaikovsky Conservatory (now National Music Academy of Ukraine), and completed post-graduate course led by Yuri Ischenko and Igor Piaskovsky (1993). In 1995-1996 she continued her studies with Tristan Murail, Brian Ferneyhough at the Annual Course for Composition and Musical Informatics at the IRCAM. In 1999 – 2002 she participated in workshops of composition given by Brian Ferneyough, Toshio Hosokawa, Johannes Schöllhorn, Beat Furer (The Royaumont Fondation, Internationale Ferienkurse fur Neue Musik in Darmstadt, Workshop of Takefu International Music Festival).

Career
In 1986-1999 she was a member of the folklore Ensemble “Drevo” of the National Music Academy of Ukraine, where she investigated Ukrainian authentic singing and participated in numerous folkloric expeditions, conferences, festivals.

Since the mid-1990-th Alla Zagaykevych is an active promoter of academic electro-acoustic music trends in Ukraine, where she collaborates with performers of experimental electronic and new improvisation music.

Since 1998 she is a lecturer at the Music Information Technologies’ Department of the National Music Academy of Ukraine (Kiev), where she founded the Electroacoustics Music Studio (supported by International Renaissance Foundation) in 1997. In 2008 she is invited to give master-classes and lectures at the International Workshop for Young composer in Mazsalaca, Latvia.

Alla Zagaykevych has been the Artistic Director of International projects Electroacoustics (Kyiv, since 2003), EM-VISIA (Kyiv, from 2005), Artistic Director of Electroacoustic’s Ensemble (since 2009) and President of Electroacoustic Music Association of Ukraine (since 2010).

Also, she is author of musicological articles in scientific periodicals (Ukrajins’ke Muzykoznavstvo, Muzyka, Krytyka, Organised Sound, MusikText).

Works
List of Zagaykevych’s works include symphonic, instrumental and vocal chamber music, electro-acoustic compositions, multi-media installations and performances, chamber opera, music for films.

She collaborate with such musicians as The National Symphony Orchestra of Ukraine, ensembles CAT, Archi, Frescos, New Performance, Cluster Ensemble, Ricoshet Ensemble, Kyiv Camerata, Sed Kontra, Ensemle Court-Circuit, Ensemble Contemporaine de Montreal, Kammersymphoniker, Ensemble Recherche, QNG – Quartet New Generation, Ensemble für Neue Musik Zürich, Anti-Social Music Ensemble, Sepia Ensemble, KONTRA-TRIO, Jorge Isaac , Lenka Zubkova, Anna Zielinska, Silk Road Duo, Ilia Belorukov, Vladislav Makarov, Setgiy Okhrimchuk, Natalka Polovynka, Petro Tovstukha, Vitally Kyianytsia, Kostiantyn Tovstukha.

Awards
In 1999 she recived Grant of the President of Ukraine for performance of 
chamber opera ‘Numbers and Wind’ (‘Drawings by 
Memory’) based on the poetry of M. Vorobyov.

In 2004 she was awarded the Oleksandr Dovzhenko State Award of Ukraine for music for film MAMAY and has received numerous other awards for his work. She is Winner of International Electroacoustic Music Competition MUSICA NOVA 2011 (Honorary Mention). In 2015 she was awarded the M.Lysenko’s Award for music for films MAMAY and GUIDE.

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Simeon ten Holt

Simeon ten Holt was born in Bergen on January 24, 1923.
He studied piano and theory with Jakob van Domselaer (1890-1960). In 1949 he moved to Paris where he received lessons at the École Normale with Arthur Honegger and Darius Milhaud.
From 1970 to 1987 he taught contemporary music at the Academy of Visual Arts in Arnhem. As a pianist he is active performing his own works.

General
Simeon ten Holt was born in Bergen on January 24, 1923. He passed away on November 25, 2012 in Alkmaar.

Education
Simeon studied piano and theory with Jakob van Domselaer (1890-1960). In 1949 he moved to Paris where he received lessons at the École Normale with Arthur Honegger and Darius Milhaud.

Career
In 1968, Simeon founded the “Werkgroep Bergen Hedendaagse Muziek (Working Group Contemporary Music Bergen)”. For this working group he organized concerts solely devoted to contemporary music, initially at the Arts Centre in Bergen, later at the Ruïnekerk [Ruin Church].

From 1969 to 1975, Ten Holt was an employee of the Institute of Sonology in Utrecht, where he realized some electronic compositions.

From 1970 to 1987, he taught contemporary music at the Academy of Visual Arts in Arnhem. Here he experimented with group improvisations that, in latter years, led to performances at Arnhem Festivals.

As a pianist he was active performing his own works.

The memoirs of Simeon ten Holt, entitled “The forest and the citadel”, were published in 2009 by publisher Balance.

Compositions
“My compositions take shape without any predetermined plan and are, as it were, the reflection of a quest for an unknown goal… As far as I can see, my relationship, both figuratively and practically speaking, to the tonal centre and the problem of tonality, has been a determining factor in the development of the achievements in my creative career. This relation gradually shifted from an initial intuitive understanding to a more conscious issue later on. The role of the tonal centre, first as an undisputed factor, starts to move, loses its authority, submerges into chromaticism and the equality of all tones, and finally emerges in a shape that is chastened by death and katharsis. A large-scale history reproduces itself on a small scale.” (Simeon ten Holt, 1995)

A breakthrough is the performance of ‘…A/.TA-LON‘ by the Asko Ensemble at the 1978 Holland Festival.

In 1979, his composition ‘Canto ostinato‘ (1976-1979) for four keyboards is premiered. Ten Holt (1995): “I was very surprised to find myself in a steppe-like landscape one day, which was characterized by an immense horizon, by vastness, space and time, and, last but not least: by tonal centres and tonality (‘Canto ostinato‘).” In 1984, Simeon released a LP with ‘Canto Ostinato‘ and later also a CD. It has been the best selling album of all Dutch composers.

Other important works are: ‘Bagatellen‘ (1954), ‘Cyclus aan de waanzin‘ (1961), ‘Interpolations‘ (1969), ‘Natalon in E‘ (1979) for piano; ‘Diagonaalmuziek‘ for strings (1958), ‘Tripticon‘ for percussion ensemble (1965), Music for the film ‘Kockyn‘ (1966); ‘Lemniscaat‘ (1983) and ‘Horizon‘ (1985) for keyboard instruments, ‘Soloduiveldans I‘ (1959), ‘Soloduiveldans II‘ (1986) and ‘Soloduiveldans III‘ (1990) for piano and ‘Incantatie IV‘ (1990) for 5 instruments.

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Maarten van Norden

General
Maarten Hans van Norden was born on November 1, 1955, in Amsterdam.

Education
After a year of studying mathematics, Van Norden chose music instead. At the Royal Conservatory in The Hague, Maarten van Norden studied classical clarinet with Jan Koene, jazz saxophone with Harvey Weinapple and composition with Louis Andriessen.

The performance of Van Norden’s ‘Cookie Girl‘ by De Volharding on the Bang on a Can Festival 1990 in New York brought him in contact with the Yale- educated young american composers. This led to his 2-year stay at Yale University, where he started working with professor Allen Forte’s “pitch-class sets”, which proved to be of great value for his compositional techniques. In 1996, he obtained a Master’s in Music with Jacob Druckman, Martin Bresnick and Allen Forte.

In 2003, he graduated in “Contemporary Music through Non Western Techniques” at the Sweelinck Conservatory, studying with Rafael Reina.

Career
For several years he worked as composer and saxophonist in groups like Orkest “De Volharding” and in his own jazz-rock band “Future Shock” before he dedicated himself to writing music for classical ensembles.

Besides writing music Van Norden worked as a teacher of music-theory at the Utrecht Conservatory, publishes articles on the use of pitch-class sets and karnatic (south-indian) techniques in composition and occasionally joins the Willem Breuker Kollektief on tour. Also, he writes film music for e.g. Pieters’ Fleury ‘Mene Tekel’ (1997).

Compositions
Songs to Make the Dust Dance’ (1995) is the last piece Maarten wrote in the United States. Since his return in Holland he has written for ensembles and orchestras such as the Radio Philharmonic Orchestra, Radio Chamber Orchestra, the ASKO-Schönberg Ensemble, Nederlands Wind Ensemble, Koor Nieuwe Muziek (Neon), Metropole Orchestra, Osiris Trio, Amsterdam Sinfonietta, Matangi Quartet, Slagwerk Den Haag and Aurelia Saxofoon Kwartet.

His orchestral works, chamber-music, movie-scores and popular music are published by Donemus and have been performed at the Concertgebouw (Amsterdam), “Bang on a Can Festival” (New York), Crossing Border Festival (Toronto), Huddersfield New Music Festival (Eng.), Warschauer Herbst (Pol.), Dutch Music Days 2001/05/06, North Sea Jazz Festival, Djakarta Jazz Festival etc.

How to unite Forte’s harmonic system and the rhythmic techniques of the Carnatic music with Schönberg’s expression and free jazz is a question Van Norden asks himself each day while composing. ‘La bonne chanson‘ (2001), for instance, is a romantic piece, written at a time when I had just ended a relationship. On the other hand, ‘Rondo 2‘ (2004), is one of his most abstract works, especially when one considers the Carnatic rhythmic aspects. Here I applied Southern Indian techniques in my music.”

Some of his latest works include:
– ‘La Fonq Revisited‘ (2016) for big band;
– ‘Funk Variations‘ (2015) for the Asko Schönberg Ensemble, conducted by Reinbert de Leeuw.

Louis Andriessen: “Maarten van Norden is a good example of the development in music making where ‘high brow’ and ‘low brow’ material are combined in a new intelligent musical language.”

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Guillermo Martínez

General
Guillermo Martínez was born in Valencia (Venezuela) in 1983. For most of his adult life, he has lived, studied, and worked as a composer in Europe.

Education
Martínez studied organ and composition at the Conservatorio Superior de Música “Eduardo Mtez. Torner” of Oviedo (Spain) with the masters Antonio Corveiras and Victor Leoncio Diéguez, respectively. Later, he earned a Master of Music degree in composition with distinction at the University of Manchester in the class of Dr. Richard Whalley (2010). He has participated as a guest student in the master class in composition at the Northern Royal College of Music (2011), under the composer Brian Ferneyhough. Martínez was also invited to the master class in composition and music education as offered by Alberto Grau and Maria Guinand (Venezuela’s “El Sistema”) in the Bremer Hochschule, Germany (2010).

Career
Martínez’ music has been performed in the United States, Cuba, Austria, the UK, Germany, Italy, France, Sweden, Lithuania, Morocco, and Spain, to name a few. Interpreters of his works include institutions such as EuropaChorAkademie, St. Christopher Chamber Orchestra, Cuarteto Vocal Español (of the Spanish National Radio Choir), Cuarteto Vocal Cavatina, Janus Ensemble, Psappha Ensemble, Orquesta Oviedo Filarmonía, JOSPA Orchestra, Orquesta Ars Mundi, Quatuor Danel, Cuarteto Vínculos, Landarbaso Koroa, Coro El León de Oro, Ad Solem Chamber Ensemble, Coro Universitario de Oviedo, and Coro Xenakis, among others.

Alongside his career as a composer, Martínez has developed an active career as organist and cantor. He is a member of EuropaChorAkademie since 2000, a group that performs on the principal venues of the U.S., China, and Europe, under the baton of figures like Michael Gielen, Krzysztof Penderecki, Sylvain Cambreling, Vladimir Ashkenazy, Vladimir Jurowski, and Placido Domingo. In addition to this, as a member of the Coro El León de Oro he has won two national Gran Prixes (2003, 2006), among many other national and international awards.

Martínez is the organist of the Cathedral of Oviedo, giving numerous concerts in Europe and collaborating with several orchestras (including a CD for Warner Classics of Saint-Saëns’ Symphony The Organ). As an organist, he has participated in courses with the masters Andrés Cea and Jean Claude Zendher.

Martínez is a member of the Honorary Advisory Board of the International Institute for Music Education of Hong Kong since 2015.

Compositions
Martínez’ work has been broadcast on radio and TV throughout the Americas and Europe. Among his most recent premieres, a highlight was the presentation of his work ‘Óleos en música “Selgas Fagalde, a cycle of six fantasies for mezzo soprano and piano, inspired by the six oil paintings of the same name of the Fundación Selgas Fagalde (El Greco, Giordano, Snayeers, Morales, van Loon and Roelas), and with texts of the great Spanish writer María Teresa Álvarez. The cycle was premiered by María José Montiel (Premio Nacional de Música 2016 of the Ministerio de Cultura, Educación y Deporte del Gobierno de España) and Iván Martín (one of the most highly acclaimed Spanish pianists) in 2016. The cycle will be published in a book-DVD in the coming months.

In addition to this, another work that is worth noting is his rhapsody for violin and orchestra, ‘Der wanderer Über dem Nebelmeer‘, premiered in 2014. This work was recognized with a national prize and premiered by the maestro Gerard Claret.

Finally, Martínez’ ‘Concerto for Piano and Orchestra No. 1‘ is also worth mentioning. This three-movement piece was commissioned by the Jornadas de Piano “Luis G. Iberni” and performed in the context of this festival by acclaimed Argentine soloist Horacio Lavandera in 2013.

Guillermo Martínez has numerous publications, including notated music, as well as CD and DVD material.

Awards
In 2009, Martínez was awarded with the scholarship Cajastur for Artists in support of his Masters in composition. In 2011, he was awarded the Premios de la Crítica TPA as the best composer of the year for his fantasia for soprano and orchestra, ‘Monumentum pro mathematica‘. This work was commissioned, premiered, and recorded by the Real Sociedad Matemática Española for the occasion of the 100-year anniversary of the institution. In 2012, Martínez won the First National Competition of Young Composers in the City of Oviedo for his piece ‘Der wanderer Über dem Nebelmeer‘. His choral work ‘No llores, paloma mía‘ was awarded a prize in the 2014 Ortus International New Music Competition, New York.

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Andries van Rossem

General
Andries van Rossem was born on December 20, 1957 in Leerdam, The Netherlands.

Education
He studied organ with Johan van Dommele at the Arnhem Conservatory and took composition lessons with Klaas de Vries and Peter Jan Wagemans at the Rotterdam Conservatory. In 1990 the Ministry of Welfare, Public Health and Culture awarded him a scholarship to study with Franco Donatoni in Milan. In addition, he took summer courses with Morton Feldman, among others.

Career
Van Rossem taught contemporary music and music theater at the ArtEZ Institute of the Arts, as well as organ and harpsichord at the Markant cultural center at Apeldoorn. During the academic year 1992-93, when he was “composer in residence” at ArtEZ, his work was the focus of concerts, lectures and workshops.

In addition to this, Van Rossem is one of the founders of the music theater company “De Plaats,” for which he co-created around twenty music theater productions. In 2012, the Orgelpark at Amsterdam presented a composer’s portrait of his recent work. In that same year, he gave a masterclass at the Conservatorio di Musica in Sassari, Italy. In cooperation with the Gerrit Rietveld Academy and the Orgelpark, he has developed three music projects in the past five years.

Van Rossem has also released several CDs, including:
– Brisk, Composers’ Voice Highlights CV 27
– Piano, percussion, guitars & winds, Klimop 003/004
– Longen en Tongen, Challenge Classics 2006
– Ton sur Ton
– Rothko, Orgelparkrecords 014.

Compositions
Van Rossem’s works have been performed by, among others, the Netherlands Ballet Orchestra, the Gelders Orkest (Arnhem Philharmonic Orchestra), the Radio Chamber Orchestra, The Metropole Orchestra and the European Youth Orchestra, led by conductors such as Ed Spanjaard, Richard Dufallo, Lev Markiz, Jacques van Steen, Lucas Vis, Roy Goodman and Peter Eötvös.

The Gelders Orkest commissioned him to write four orchestral works, one of which, a part from the cycle ‘Pier and Ocean‘, inspired by the painting by Piet Mondriaan of the same name, was presented during a Composer Portrait in 1993. He also composed numerous works commissioned by various Dutch ensembles, including the Asko/Schönberg (Concerto), the New Ensemble (‘Walthamstow‘), Amsterdam Sinfonietta (‘Strings & harpsichord‘), De Ereprijs (‘Piano, percussion, guitars & winds‘), the Netherlands Wind Ensemble (‘Pier and Ocean‘), and various international ensembles, including Ensemble Recherche (Freiburg), the Composers Ensemble (London), Ensemble Nuove Sincronie (Milan), Caput Ensemble (Iceland), Talking Drums (New York) and the Kronos Quartet (San Francisco). His work was performed at the Dutch Music Days in 1994 and 1996, the Holland Festival of 1996 and the Warsaw Autumn Festivals in 1990 and 2000. The Foundation Intro/in situ commissioned him to write music for five location projects, one of which was the ‘Spotting‘ project in 2006, a composition based on Messiaen’s transcriptions of birdsong, realized in cooperation with Ralph van Raat.

A full-length work on the ‘Via Crucis‘ premiered recently and, for the 2016-17 season, nine works are scheduled in the context of “Composer in Residence Musicus Sacrum,” one of which will be the premiere of a piano concerto.

Awards
At the end of his compositions studies, Van Rossem received the Prize for Composition in 1987. In the following year, he received the Encouragement Award for Music from the Amsterdam Fund for the Arts.

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Diderik Wagenaar

General
Diderik Wagenaar was born on May 10, 1946 in Utrecht. He has lived and worked all his adult life in The Hague.

Education
Born to a musical family that includes Johan Wagenaar, he began playing piano at the age of eight and by the time he was fourteen had set his sights on a musical vocation. As a teenager in the early 1960s he loved Renaissance music, Bach, Ravel, and Thelonious Monk; at the age of eighteen he began studying music theory with Jan van Dijk, Hein Kien and Rudolf Koumans and piano with Simon Admiraal at the Royal Conservatory in The Hague. After having completed his studies, he followed analysis classes with Kees van Baaren that fostered his interest in composing.

Career
In the 1970s, together with Louis Andriessen and Gilius of Bergeijk, Wagenaar initiated the Digilou trio, a trio that combines improvisation and composition elements; Diderik’s composition Praxis (1973) for two pianos and oboe is a result of this composition style. In 1973, the trio stopped this cooperation. Since 1969, Wagenaar has taught music theory and 20th century music at the Royal Conservatory in The Hague. In 1990, he began to teach composition also at the Royal Conservatory, and a few years after that he began to give instrumentation lessons as well.

Compositions
As a composer, Wagenaar is essentially self-taught. It was during his student years in the mid-60s that Wagenaar began to develop as a composer. Although fascinated by the concerts given by Pierre Boulez and Bruno Maderna with the Hague Philharmonic, he admits to having “no real grip” at that time on the musical avant-garde, and began to look around for other starting-points for his own music. In addition to his fascination with jazz, an important encounter at that time was with the music of Charles Ives, which taught him the value of inclusiveness. It also encouraged his tendency to attempt a synthesis between tonality and atonality, to connect previously disparate systems of musical thought. Today Wagenaar feels that the notion of a “music of inclusion” can be seen as an important aspect of the new Dutch music as a whole.

Though Wagenaar’s ideas may be complex, they are always presented in a clear and straightforward manner. His influences include Stravinsky, a key figure for the composers of the Hague school, but also importantly Monk and John Coltrane.

Wagenaar’s major works include Praxis (1973) for two pianos; Liederen (1976) for wind band; Tam Tam (1978) for the Hoketus Ensemble; Metrum (1984) for large orchestra and saxophone quartet; Solenne (1992) for six percussionists; Galilei (1999) for orchestra and chorus and Tango Waltz for orchestra (2004). Some of his works are commissions for the ensembles Orkest de Volharding, Hoketus, Slagwerkgroep Den Haag and Icebreaker and for the Concertgebouw Orchestra.

Awards
In April 1989 Wagenaar received the Kees van Baaren Prize for his piece Metrum. In 1996 he was awarded the Matthijs Vermeulen Prize for his Trois poèmes en prose (1995). Additionally, Diderik Wagenaar was a guest of honor during the Bang on a Can Marathon in 2001 in New York.

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Edward Top

General 
Edward Top was born in Ommen, the Netherlands, in 1972. Top has lived and worked in London, Bangkok, and Rotterdam. He now lives in Vancouver, Canada.

Education
Top studied composition and violin at the Rotterdam Conservatoire in The Netherlands. He primarily studied with Peter-Jan Wagemans, but also worked with Klaas de Vries, Peter Eötvös, Pierre Boulez, and Luciano Berio. After living and traveling in the Far East for several years he settled in England in 2003, where he completed a Master’s Degree in musicology at King’s College London and worked with George Benjamin. East-Asian culture remains a predominant presence in Top’s life.

Career
Top is currently the Head of the Composition Department at the Vancouver Academy of Music since 2014. He also maintains a close relationship with the Vancouver Symphony Orchestra, who commissioned seven, and performed ten of his works when he served as its Composer-in-Residence from 2011-2014. The VSO and conductor Bramwell Tovey played the commissioned work Totem in Seattle, Los Angeles, Las Vegas, and Phoenix on a US West Coast tour in 2013.

Top has received commissions of the Toronto Symphony, Vancouver Symphony, Vancouver Island Symphony, Schoenberg Ensemble, Holland Symfonia, Ensemble contemporain de Montréal, Calefax reed quintet, Vocal LAB Silbersee, Doelen Ensemble, Raschèr Saxophone Quartet, The Tempest Flute Ensemble and Standing Wave. His works are performed by the Dutch Radio Kamerorkest, Netherlands Ballet Orchestra, Tokyo Sinfonietta, Ensemble NOISE at San Diego New Music and the Formalist String Quartet in Los Angeles. Edward is an Associate Composer of the Canadian Music Centre.

In addition to lasting relationships with orchestras in Canada and The Netherlands, Top has enjoyed long-standing collaborations with chamber ensembles too. His two string quartets were composed for the Rotterdam Doelen Quartet, who keep regularly programming the works. They premiered the second quartet in Paris in the presence of Henri Dutilleux, and recorded both works on CD. In Vancouver, ensemble Standing Wave performed four of his works, including an arrangement of Slayer’s thrash-metal classic Angel of Death, and the aforementioned Pots ‘n Pans Falling, which has been released on CD in late 2016.

In January 2017, the Toronto Symphony Orchestra, conducted by Peter Oundjian, will premiere the commissioned work Eruption on tour in the Canadian cities of Ottawa, Montreal, and Toronto.

Compositions
His two string quartets and earlier orchestral works show influences of neo-expressionism, especially that of Wolfgang Rihm. Top analyzed melodic expansion in Rihm’s work and experimented with it in the extremity of the violin’s upper tessitura in his concerto for violin and two orchestras, Witte Wieven (2007). In Totem, for orchestra (2012), the lyric expressionism of Witte Wieven meets influences of the extreme metal genre and influences of György Kurtág, in what the Vancouver Sun has identified as “earthy neo-primitivism.”

Submerged in the kaleidoscopic music scene in Vancouver on the Canadian West Coast since 2010, Top started experimenting with a more economic use of musical material, temporarily distancing himself from earlier influences of expressionism. In Pots ‘n Pans Falling, the members of the ensemble Standing Wave echo recordings of Top’s 7-year old violin student playing a simple motive. Pots ‘n Pans Falling was composed to commemorate the young survivors of the Sandy Hook shooting.

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