Lina Tonia – SQUALL

Lina Tonia’s piano concerto, SQUALL, will be performed on April 28 by Zagreb Philharmonic Orchestra and conducted by Dian Tchobanov at the Music Biennale Zagreb, Croatia… 

Lina Tonia’s piano concerto, SQUALL, will be performed on April 28 by Zagreb Philharmonic Orchestra and conducted by Dian Tchobanov at the Music Biennale Zagreb, Croatia. SQUALL is a creation of continually spiraling patterns; the piano introduces these patterns quietly at the beginning of the work and the orchestra imitates the same energy and augments the sense of spiraling as the music continues.

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Dick Kattenburg

Dutch composer Dick Kattenburg barely got started before the curtain came down. In hiding from Nazi authorities in Utrecht, Kattenburg was probably arrested in a movie theater and shipped out to Auschwitz in May 1944. By late September, Kattenburg was dead at age 24.

This story of discovery is extraordinary to be sure, but not nearly as extraordinary as Kattenburg’s music. Although Kattenburg had some rudimentary musical training, including some contact — mostly by way of correspondence — with Leo Smit, he was a self-taught composer bursting with talent, ingenuity, and originality.

His music manuscripts — constituting about 2 dozen pieces written between 1936 and 1944 — wound up in the care of Kattenburg’s sister Daisy, who managed to survive World War II. The one piece that Kattenburg circulated outside of his own collection, his ‘Flute Sonata‘ (1937) was given to its dedicatee, flautist Ima Spanjaard-van Esso. Although Esso never played the piece, she presented its manuscript to Eleanore Pameijer, founder of the Leo Smit Foundation in Amsterdam, who began to play it — a lot — in the early 2000s. Word of these performances reached the daughter of Daisy Kattenburg, who discovered the rest of Dick Kattenburg’s compositions in the family attic where her mother had left them.

Kattenburg loved jazz and his works are suffused with its influence by way of both rhythm and harmony. There is even a composition for piano, 4-hands and tap dancer, and a lively “Rumba” found among his three Escapades for two violins. These, and much more, may be found among the 13 works included on FutureClassics’ disc Dick Kattenburg: Chamber Music as performed by Pameijer’s group, the Leo Smit Ensemble.

Kattenburg’s music is very clear in its scoring and should delight performers whose instruments he wrote for. And it’s a pretty extensive range. In addition to the flute works and those for piano, he composed ‘pieces for violin, and an intriguing ‘Quartet‘ for the combination of flute, violin, cello, and piano, not commonly used since the late Baroque period. Stylistically, Kattenburg is difficult to nail down. Earlier pieces have an impressionist tinge, somewhat later ones adopt a Stravinskan edge, and his last work, the ‘Allegro Moderato’ for viola and piano, shows Kattenburg moving into an entirely original and boldly serious direction that, in the end, he wasn’t allowed to follow out to its realization.

As Dick Kattenburg: Chamber Music appears, much is being made of the discovery of a few frames of home movie film of Anne Frank, leaning out a window and waving, a tiny artifact raised, like Anne Frank’s diary, from the rubble of the hiding places that ultimately failed to preserve for us the lives of talented Jews that lived in the Netherlands during the Nazi period. Kattenburg was only a decade older than Anne Frank, and while his music does not speak directly of his horrendous experience like Frank’s work does, it remains a testament to what we lost when the hiding places were emptied out and these people were betrayed. It also pays tribute to the value of the creative impulse, as it is only through the bright, witty, and effervescent work like that heard on the FutureClassics’ disc, that lost ones — like Dick Kattenburg — can speak to us.

Source: Uncle Dave Lewis, 2009

Cornelis Dopper

Cornelis Dopper was born Feb. 17th 1870 in Stadskanaal; he died Sep. 18th 1939 in Amsterdam. He was a composer, conductor and music teacher.

He studied piano and violin at the Conservatoire of Leipzig (1888-1890). His most important teacher was Oscar Paul, who lectured on history of music (especially ancient Greek music) and musical aesthetics.

In 1897, he went to Amsterdam, where he became a violinist and later a choir master and assistant conductor at the Nederlandsche Opera (Dutch Opera Company), until this company dissolved in 1903.

During two seasons, Dopper was one of the conductors of the travelling Henry Savage Opera Company in the United States. He also visited Canada and Mexico with this company and conducted the first performances of Puccini’s Madama Butterfly.

He introduced not only Debussy’s La Mer and Ibéria in Amsterdam, but also a lot of other new compositions of composers of his time, i.e. Elgar, Ravel, and the music of many young Dutch composers.

Dopper introduced youth concerts in the Netherlands in 1923. As a composer he was not an innovator, but possessed a great instinct for orchestral colouring. His interest in Ancient Greek music is apparant from works such as the orchestral studies ‘Päân I & II‘. But above all Dopper was a Dutch composer, as shown by the titles of his symphonies.

In 1892, he composed his first opera ‘De blinde van Castel Cuillé’ after a story by J. Jasmin (English translation: H.W. Longfellow) and his ‘First Symphony‘ ‘Diana’ (1896), based on Heinrich Heine’s story Die Götter in exil. In 1904, he finished his ‘Second Symphony‘ (‘Scottish’ symphony). In 1906, Willem Mengelberg performed Dopper’s ‘Third Symphony‘ (‘Rembrandt’, rev. 1904) with the Amsterdam Concertgebouw Orchestra and Dopper was nominated as second conductor of this famous orchestra under Mengelberg in 1908.

Dopper stayed with the Concertgebouw Orchestra for 23 years. During that time he composed his ‘Fourth Symphony’ (‘Sinfoniëtta’, rev. 1909), his ‘Fifth Symphony’ (‘Sinfonia epica’, 1908) on a text of Homerus Ilias; a ‘Sixth Symphony‘ (‘Amsterdamse’, 1912) and a ‘Seventh Symphony’ (‘Zuiderzee’, 1917).

Besides four opera’s and seven symphonies, Dopper wrote a lot of vocal works: songs, choir music, a ‘Requiem‘ and chamber music (‘Sextet‘, ‘Klankstudie‘, String quartet ‘Pallas Athena’, ‘Sonata‘ for violin or violoncello and piano). His complete works (more than one hundred) are preserved in the Nederlands Muziek Instituut (Dutch Musical Institute), Royal Library, The Hague.

In 1930, Cornelis Dopper received the Silver Medal of Honor for Art and Science from the Dutch queen Wilhelmina.

Carlos Micháns

I am a Dutch composer born, raised and educated in Argentina”, is Carlos Micháns’ favourite answer when asked about his nationality. Born in Buenos Aires in 1950 into a family with roots in England, Scotland, Flanders, Cataluña, the French Basque provinces and even the USA, he moved to the Netherlands in 1982, later becoming a Dutch citizen.

In his native Argentina he studied piano, organ and later composition with Susana Oliveto and Roberto García Morillo, one of the country’s leading composers. He also graduated in conducting at the University of Buenos Aires and the Art Institute of the Teatro Colón, South America’s major opera house.

In 1982, he was awarded a scholarship from the Dutch Ministry of Culture and Science, which enabled him to do postgraduate studies in composition and electronic music with Hans Kox, Tristan Keuris and Ton Bruynèl at the conservatory of Utrecht, where he obtained the Composition Prize in 1988. A new grant from the Ministry of Culture allowed him to continue his training in electronic music for a year.

Other awards:
1977 – 1st Prize “Promociones Musicales” (Argentina), for ‘Tema, Toccata & Fuga for organ
1990 – 1st Prize of the city of Gerona (Spanje), for ‘Apparitions‘ for piano
1993 – “Trinac” (Tribuna Nacional de Compositores, Argentina), for ‘String Quartet Nr. 2
1996 – “Trimarg” (Tribuna Musical Argentina), for ‘Sinfonia Concertante Nr. 2
2000 – “Trinac”, for ‘Après Minuit‘ for ensemble
2006 – “Trinac”, for ‘Sinfonia Concertante Nr. 4
2008 – “Toonzetters”: selected among the ten best Dutch compositions of 2007, for ‘Concerto for Harp and Orchestra
2010 – “Salvatore Martirano Award” (Honorable Mention) of the University of Illinois at Urbana-Champaign, for ‘Trois Visions Tantriques‘ for harp and saxophone quartet
2010 – “C4-Commissioning Competition” (New Your, USA), for ‘Ave Maria – Pater Noster‘ for mixed choir a cappella.

In Buenos Aires he was active as a composer, music teacher and choir conductor.

Between 1995 and 2012, Carlos Micháns was in charge of “Podium Neerlandés”, a programme of Radio Nederland aimed at introducing Dutch concert life to Spanish speaking audiences around the world, mainly in Latin America.

Micháns is also active in the field of literature. He has written and published several works in Dutch, Spanish and English, which include novels, poetry, short stories and essays on history and art.

Since 1986, and thanks to financial support from Dutch and foreign funds, the Gaudeamus Foundation, music institutions and the Ministry of Foreign Affairs, Micháns has organized several international concert tours aimed at promoting Dutch musicians and contemporary music abroad.

He has also been invited to lecture on his music by universities and institutes for higher education in India, Indonesia, North, South and Central America (Argentina, Brazil, Costa Rica, El Salvador, Panamá) and Poland.

Also, along with concert tours he organized tournament for gambling on the playground online casino Cop17.

Micháns’ extensive catalogue includes works in almost every genre, among which five ‘sinfonie concertante’ for soloists and orchestra, two symphonic overtures, several compositions for choir and orchestra, a harp concerto, a saxophone concerto, quartets and quintets for a variety of combinations (strings, saxophones, clarinets and mixed ensembles), countless solo pieces and for small and large chamber groups.

Most of them are commissioned by the Dutch Fund for Performing Arts for distinguished Dutch and international soloists and ensembles, such as Ronald Brautigam, Isabelle van Keulen, Liza and Dmitry Ferschtman, Arno Bornkamp, Lavinia Meijer, Rotterdam Philharmonic Orchestra, Radio Chamber Orchestra, Holland Symfonia and many others. They are published in Hilversum (Holland) by Donemus.

Micháns about modernity in his work: “Modernity is in the ears of the listeners, and their concept of it will vary, develop and change according to their experience and ability to understand what they hear. As for my own music, I do believe it to be contemporary and to reflect some aspects of our time more strongly than others, our time meaning not just this very instant but the last few decades and even further. After all, we haven’t spent more than a thousand years creating and developing techniques, inventing and perfecting instruments in order to stick to the latest ones and discard the rest as obsolete.

Daniel Ruyneman

Daniel Ruijneman – he later substituted the “y” for “ij” in the family name – was born in Amsterdam on August 8, 1886 and died in his birthplace on July 25, 1963.

Daniel took piano lessons as a youth.

In 1913, Ruyneman studied composition with Bernard Zweers and the piano with Karel de Jong at the Amsterdam Conservatory.

Ruyneman quickly developed as a passionate promoter of cultural activity. He was the first secretary of the Dutch chapter of the International Society for Contemporary Music.

In 1917, Daniel established a personal musical idiom in the “Chineesche Liederen”.

During the 1920s, Daniel Ruyneman played a prominent role in the musical life of the city of Groningen, a.o. as the conductor of the locally celebrated student orchestra Bragi, as well as the choir of ‘Magna Pete’, the female student group. He also maintained connections with the painters society ‘De Ploeg’.

With the composer Henri Zagwijn, he founded the Netherlands Society for Creative Music in 1918. This Society was absorbed into the Dutch chapter of the International Society for Contemporary Music in 1923. In 1930, he founded the Netherlands Society for Contemporary Music in Amsterdam. Furthermore, his Foundation for International Exchange Concerts organised concerts in various European capitals and the United States, bringing him international fame.

In 1938, he published his book about the composer Jan Ingenhoven.

Besides, he was the editor in chief of his ‘Maandblad voor Hedendaagsche Muziek’ [Contemporary Music Monthly Magazine], which attracted well-known contributors from the Netherlands and abroad. The Magazine was banned during the German occupation.

In addition to his many other functions, Ruyneman became director of the Stedelijk Museum Concerts in Amsterdam in 1950, a position he held for the rest of his life.

As a composer, he created an extensive body of works.

He finished the ‘Divertimento‘ (1927), for chamber ensemble, in which he showed himself less concerned with timbre than the linear-melodic and structural aspects.

His music of the 1930s and 1940s shows neo-classical elements of his contemporaries Igor Stravinsky, Sergei Prokofiev and Francis Poulenc. In the ‘Sonata for chamber choir‘ (1931), he furthered the principle of vocal colour-polyphony. He finished the ‘Quatuor à cordes‘ in 1946. In 1948, he wrote ‘Die Weise von Liebe und Tod des Kornets Christoph Rilke‘, a “declamatorio” based on texts by Rainer Maria Rilke.

In later compositions, his work leaned torward the twelve-tone methods of Arnold Schoenberg and Anton Webern, as evidenced by his four ‘Réflections‘ (1959-1961).

Gilgamesj‘ (1962), for orchestra, is a series of impressions created after reading the ancient Babylonian epoch “Gilgamesh”.

Ruyneman’s importance to Dutch musical life was aptly summed up by Paul Op de Coul (in the ‘Biographisch Woordenboek van Nederland’): “In fact, he was the only one who in this way promoted the cause of modern Dutch and foreign music. He presented precisely those works and composers who fell outside the standard repertoire and established music business, which inexhaustibly served the music of the past and utterly failed with regard to the music of its own time.”

Robert de Roos

Robert de Roos was born on March 10, 1907 in the Hague and died there on March 18, 1976.

He studied piano, violin and viola at the Royal Conservatory and received composition lessons from Johan Wagenaar. After his graduation, he travelled to Paris and studied privately with Darius Milhaud (composition), Isidor Philipp (piano), Charles Koechlin and Roland Manuel (canons) and Pierre Monteux (conducting). Later, he studied with Hermann Scherchen (conducting) and Sem Dresden (orchestration).

From 1946 to 1956, he was the Cultural Attaché at the Dutch Embassy in Paris and in 1957 he was named Frist Secretary for Press and Cultural Affairs at the Embassy in Caracas, Venezuela.

In 1961, he was accredited with this same function in Bogotá, Quito, La Paz en Lima; after this, he was part of the Embassy council for Press and Cultural Affairs and head of the information department and Cultural Affairs in Londen.

From 1967 to 1973, he was part of the Embassy council form Press and Cultural Affairs in Buenos Aires, also accredited to Asunción (Paraguay) and head of the Dutch Information Bureau for Latin America. In 1973, he returned to the Netherlands.

As a composer, Robert de Roos originally searched for a style that was influence by the German and French schools, but later he freed himself and found a personal style that was characterized by canon composition techinque. During this period he wrote a number of work which he later withdrew from circulation.

He felt that no single element could go by unnoticed when composing, a belief that led him to a more rich and colorful manner of composing. Clear examples of this are the ‘Variations sérieuses sur un thème ingénu‘, which he composed in 1947 and dedicated to the Residentie Orkest are from this last style period.

Next to the many orchestra pieces and concertos, De Roos also composed an opera in one act, ‘Die Vision‘ and chamber music ‘Sextuor‘ for piano and wind instruments, art songs, theater music and a number of choral works.

Kees Wieringa recorded a ‘Sonatine’ by Robert de Roos. (DO Records 004). On the Q-Disc label a double cd was released: Robert de Roos Historical Recordings (Q 97013).

Weeshuis van de Nederlandse Muziek meets Donemus

Donemus is al vele jaren een bekende naam bij Nederlandse componisten. Deze uitgeverij maakt het mogelijk dat er heel erg veel Nederlandse muziek gepubliceerd wordt. Omdat wij met het Weeshuis ook regelmatig in de archieven van Donemus rondneuzen, leek het ons een goed idee om niet alleen de muziek, maar ook deze uitgeverij eens voor het voetlicht te brengen…  

Will Eisma & Henk van der Meulen – zaterdag 18 maart 21.00 uur – Donemus (Den Haag >>> gratis (!) kaarten reserveren)
Donemus is al vele jaren een bekende naam bij Nederlandse componisten. Deze uitgeverij maakt het mogelijk dat er heel erg veel Nederlandse muziek gepubliceerd wordt. Omdat wij met het Weeshuis ook regelmatig in de archieven van Donemus rondneuzen, leek het ons een goed idee om niet alleen de muziek, maar ook deze uitgeverij eens voor het voetlicht te brengen.

Op 18 maart presenteren wij dan ook twee werken van namen uit het Donemus-archief: Klein Protocol (1966) voor viool & cello van Will Eisma en Regen (1982) voor 5 instrumentalisten van Henk van der Meulen. De werken worden gespeeld door Rieneke Brink (dwarsfluit), Jesse Faber (klarinet), Judith van Driel (viool), Hannah Shaw (altviool) en Lidy Blijdorp (cello). Aan tafel zitten ,naast presentator David Dramm, de twee componisten van de avond en Davo van Peursen, directeur van Donemus.

De aanvangstijd van het Weeshuis is iets vervroegd, naar 21.00 uur. Zoals gewoonlijk kunt u eerst naar de muziek luisteren. Daarna volgt een korte toelichting en interview en is er ruimte voor gesprek over de muziek. Tot slot klinken de composities nog een keer, om de muziek vanuit een nieuwe context opnieuw te kunnen horen en waarderen. Het gehele programma duurt iets meer dan een uur. VPRO Vrije Geluiden neemt het concert op voor latere uitzending.

Let op, zaterdag 18 maart zijn we te gast bij Donemus. Het concert is dan ook in Den Haag, Rijswijkseplein 786. routebeschrijving

Wolfgang Wijdeveld

Wolfgang Wijdeveld was born on May 9, 1910 in The Hague and he died in Laren on December 12, 1985.

His father was the famous architect H.Th. Wijdeveld, his mother was the cellist Ellen Kohn and his grandmother the Polish pianist Ruscha Schönfeld, a pupil of Brahms. She had also good contact with a.o. Strauss, Cosima Wagner, Reger, and founded a conservatory in her hometown Gleiwitz, Upper Silesia (currently: Glivice, Poland) in 1850.

Wolfgang studied piano with Cornelius Berkhout and harmony with Willem van Warmelo. At the Amsterdam Conservatory of Music he studied piano with Willem Andriessen, theory with Sem Dresden and Anton Tierie and violin with Cor Kint.

In addition, he had singing lessons from Saar van Alphen and he studied composition for two years with Willem Pijper.

At first, Wijdeveld worked as a pianist and composer with the Yvonne Georgi ballet, Estelle Reed, and the Ballet of the Low Countries. He toured the Unites States in 1939 with the Yvonne Georgi Ballet.

From 1940 to 1946, he was managing director of the Music School in Zwolle. From 1946 to 1976 he taught piano and (from 1962) methodology at the Utrecht Conservatory of Music and from 1966 to 1970 also at the Conservatory of Arnhem.

He was a music critic at the daily Het Vrije Volk from 1956 to 1968.

In 1962 and 1963, he gave concerts and seminars (together with his father) at 15 universities throughout North America.

For many years, Wijdeveld was chairman of the Association of Teachers of the Utrecht Conservatory (1954-1972) and of the Amsterdam branch of the Royal Dutch Composers’ Association (1960-1972).

Wolfgang Wijdeveld wrote ballet music for one or two pianos with orchestra, vocal works such as the ‘Liederen op Zuid-Afrikaanse tekst’ (1966), larger choral works such as ‘Psalm 150’ (1950) and ‘Matrooslied’ (1966), a single orchestra work and chamber music.

His most important works from the latter category are his ‘Sonate for violin and piano’ (1948), the ‘Sonate for two violins and piano’ (1954) and his works for piano solo, such as the ‘Three Sonatas’ and ‘Notitieboeken I-V’.

Composing was his way to share his vision with the world around him. In his last years, plagued by cataract and diseases, he recorded most of his works for piano solo onto a simple tape recorder, because he wanted to retain some of his works and vision for posterity.

Wijdevelds modest oeuvre can be summarized as “valuable work of a bon vivant, constrained by an acquired modesty”. (Paul Janssen, 2010)

Karel Goeyvaerts

Karel Goeyvaerts was born on the 8th of June, 1923 in Antwerp and died on the 3rd of February, 1993.

From 1943 to 1947, Karel Goeyvaerts studied at the Royal Flemish Conservatory of Music in Antwerp, and went on to study at the National Conservatory in Paris, where he pursued studies in composition under the tutelage of Darius Milhaud and musical analysis with Olivier Messiaen.

In 1970, he was appointed producer at the Institute for Psycho-Acoustics and Electronic Music (IPEM), a research and production studio founded by the Belgian Radio and Television (BRT) and the University of Ghent. Later, he worked as head producer for New Music at Belgian Radio 3 (the classical channel).

In 1992, he was named as the first holder of the KBC Chair for New Music in the department of Musicology at the University of Leuven, a position requiring him to teach and to compose again. However, the composition ‘Alba per Alban‘ remained unfinished at the time of the composer’s sudden death.

Studying with Olivier Messiaen, Goeyvaerts quickly assimilated recent musical innovations, in particular Messiaen’s approach towards rhythm and Webern’s structuralist application of serialism. Goeyvaerts would be the first to successfully apply the serial principle not only to pitch but also to rhythm, sound intensity and articulation.

Written in 1950-51, the ‘Sonata for 2 Piano‘ marks the beginning of Goeyvaerts’ career as a composer. This piece had a major influence on the young generation of avant-gardists and particularly Karlheinz Stockhausen.

His ‘Sonata‘ and ‘The Second Violin Concerto‘ (1951) are transitional works in which the composer aims for structural purity, without however quite achieving his goal. For example, the traditional style of movements 1 and 4 of the ‘Sonata‘ contrasts sharply with the serial middle movement. ‘Number 2 for 13 instruments‘ (1952) can be considered the first totally serial composition.

Goeyvaerts was one of the first to compose electronic music, which allowed him to bring even more discipline to both the composition and the performance. Milestone compositions include ‘Nr. 4 met dode tonen‘ (‘with dead tones’) and ‘Nr. 5 met zuivere tonen‘ (‘with pure tones’). In 1953, Goeyvaerts and Stockhausen, together with several other composers, realized the first music produced by means of electronic generators (at the WDR in Cologne).

From the 1960s onwards, Goeyvaerts no longer initiated major artistic innovations, but rapidly integrated new ideas and techniques into his own idiom. The experimental, aleatory, repetitive and neo-tonal works written after 1960 can thus be understood as explorations of international tendencies in terms of their usefulness for personal compositional intentions.

Repetitive music also fell under Goeyvaerts’ gaze, an interest culminating in the five ‘Litanieën‘ written between 1979 and 1982. After 1980, Goeyvaerts reclaimed the expressive intention and tonal techniques associated with the Neo-Romantic style. His opus ultimum, the large-scale opera ‘Aquarius‘ (1983-93), forms both a synthesis and a culmination point of his work as a composer.

Despite great stylistic and technical diversity, Goeyvaerts oeuvre remains remarkably homogeneous.

In 1985, Goeyvaerts was chosen as the Chairperson of the International Composers’ Rostrum, an association under the auspices of the UNESCO International Music Council.

Karel Goeyvaerts was a member of the Royal Academy for Science, Letters and Fine Arts of Belgium.

Jan van Vlijmen

Jan van Vlijmen was born on October 11, 1985 in Rotterdam and died of leukaemia on December 24 in Réveillon, France.

He studied the piano and organ at the Utrecht conservatory and composition with Kees van Baaren.

In 1961, Van Vlijmen was named director of the music school in Amersfoort. In 1965 he became a music theory teacher at the Utrecht Conservatory.

As the director of the Royal Conservatory in The Hague (1970), Van Vlijmen implemented important educational innovations – including in the instruction of Baroque and Renaissance music, music theory, and modern and electronic music – and he added various courses of study. Under his leadership the conservatory undertook a series of large projects, such as one focussing on Monteverdi (led by Nikolaus Harnoncourt, 1972) and another on Stockhausen (led by the composer himself, 1982). In addition, Van Vlijmen was able to obtain a new building for the conservatory (with a modern, fully equipped theatre and concert hall and facilities for an electronic music department) that also houses a ballet academy and a secondary school for young and future conservatory students.

In 1984, The Ministry of Culture asked Van Vlijmen to become the director of De Nederlandse Opera. After serving as general director of De Nederlandse Opera, he led the Holland Festival in the 1990s.

Jan van Vlijmen wrote chamber music, operas, songs and orchestral works. He was attracted to the serial music of Arnold Schoenberg and the sumptuous orchestrations in the symphonic music of Gustav Mahler, Anton Bruckner and Alban Berg.

He was influenced by serialism, but with a very personal twist. Van Vlijmen explained: “Serialism in the broadest sense of the word presents a tremendous amount of expressive possibilities. […] To my mind, the use of serialist precepts does not necessarily have to lead to pointillist music. The results can equally well be primarily melodic, or harmonic, or both”.

Together with Reinbert de Leeuw, Van Vlijmen composed the opera ‘Axel‘.

In 1987, Van Vlijmen completed the score and instrumentation of ‘Summer Rites at Noon‘, a work for two orchestras left unfinished by Rudolf Escher at his death in 1980.

The opera ‘Un malheureux vêtu de noir‘, about the final years of Vincent van Gogh and his brother Theo, was premiered in Amsterdam in the year of the hundredth anniversary of Van Gogh’s death (1990).

Shortly before his death, he finished the opera ‘Thyeste‘, on a libretto by Hugo Claus. “Music has to be compelling and sombre, but that doesn’t mean that I am just strict note-counter. I am bursting with emotions!” Van Vlijmen said that ‘Thyeste‘ had become a “very old-fashioned” opera. “Atreus, of course, is a tenor, what’s more a heroic tenor. Thyestes is a dramatic baritone”.

His piece ‘Gruppi‘ received an award from the Ministry of Culture in 1965.

Sonata per Pianoforte e Tre Gruppi Strumentali‘ (1966) was awarded the Professor van der Leeuw Prize in 1970. Two years later, ‘Omaggio a Gesualdo‘ (1971) won the Matthijs Vermeulen Prize. His orchestral piece ‘Quaterni‘ (1979) was awarded the Matthijs Vermeulen Prize in 1980.