News

Donemus Academy 2017

From October 23-November 27, the Donemus Foundation will hold the 2nd annual Donemus Academy for composers starting their career in the Netherlands. This year, we are happy to announce that November Music will collaborate with Donemus Academy, offering its participants a 50% discount… 

From October 23-November 27, the Donemus Foundation will hold the 2nd annual Donemus Academy for composers starting their career in the Netherlands. There will be lectures, workshops, and discussions to support composers develop professional skills in the field. During the course, six different topics will be discussed in detail: Author rights, Funding, Programming, Publishing, Score editing and layout, and Entrepreneurship.

This year, we are happy to announce that November Music will collaborate with Donemus Academy, offering its participants a 50% discount on select concerts, as well as a complementary lecture by composer Heiner Goebbels, and many other exciting opportunities and special offers. Click the links below for more information and/or to apply to this year’s Donemus Academy!

More information about Donemus Academy
Apply to Donemus Academy

If you have specific questions or would like to discuss payment plan options, you can email Heather Pinkham at heather@donemus.nl

Recent projects Roland Kuit

Roland Kuit has been exploring and broadening the language of sound for over 25 years. On 23-06-2017, a special world premiere took place in the Kampa Museum – The Jan and Meda Mládek Foundation in Prague (CZ). With this three part work “Tactile utterance”, Roland succeeded in expressing the 50 years of painting by Tomas Rajlich… 

 

Sonologist- composer Roland Emile Kuit balances on the interface between research, music and sound art. The new listening.

Roland Kuit has been exploring and broadening the language of sound for over 25 years. In search of new forms of listening Kuit started to create synthetic environments of sounds in the ’90’s. Resulting in sound exhibitions in art galleries followed by publications in art magazines as l’Orbe and Avenue Magazine, Sound On Sound Magazine and WIRED. To free these sound concepts from the traditional speaker boxes Kuit began the transition of his sounds into installations. Visualizing sound. F.i. The Electroacoustic Domestic Pet and his cityscape Paris, a Centre Pompidou rebuild tubed speaker wall.

Roland Kuit started studying the flute and piano at the Royal Conservatory The Hague but very quick switched to study electronic music at the Institute of Sonology in the 80’s. With teachers as Gottfried Michael Koenig, Werner Kaegi, Stan Tempelaars and Jaap Vink.  Among analogue studio techniques, Roland learned to develop programs for algorithmic composition and digital sound synthesis.
The electronic possibilities in music and sound are infinite and were the right tools for Kuit. Analogue and digital modular synthesizers and the KYMA system, a super computer for sound, are the instruments for Kuit. Sound is typically a ‘time thing’. With this system, Kuit can influence the present by events that will happen in the future. And vice versa. This is called Time Warping. And where an acoustic instrumentalist can create twenty articulations per second, the Kyma can do a thousand. Real-time analysis of sound of acoustical instruments or other sounds can be done perfectly with the computer algorithms, creating composition possibilities that are very interesting in the spectral realm.

In his early years Roland made the connection between the other disciplines as painting, ballet, sculpture and architecture. In 1996, Roland Kuit composed ‘The Rajlich Concept’ for the painter Tomas Rajlich. A work for violin, viola, double bass and synthesizer. Archives Center Pompidou.

More about The Rajlich Concept

On 23-06-2017, a special world premiere took place in the Kampa Museum – The Jan and Meda Mládek Foundation in Prague (CZ). This in honor of the exhibition Tomas Rajlich: Zcela abstraktní retrospektiva, an overview of the work of Tomas Rajlich. For this occasion Roland Kuit composed a KYMA extended string quartet. With this three part work “Tactile utterance”, Roland succeeded in expressing the 50 years of painting by Tomas Rajlich. The new ways in composition and research of physical modeling in spectral music Roland had experienced at the IRCAM in Paris and the computer algorithms came together in this work.

Part 1: BRUSH, from a pianissimo-bowed wood sounds to noise, to an elaborated crescendo of 8 minutes ending in a broad fortissimo textural cluster. The KYMA system producing spectral echoes of the strings sounds.
Part 2: MAZE, when we look at a grid, we see first concentrated – to open – to condensed again. This goes for both horizontal and vertical. The string quartet interpreted the ‘intersections’ by means of percussive violin sounds.
These sounds as a type of particles copied 100 times with the KYMA system, resulting in a noise wall. A riterando to the center of the piece made that these particles could be distinguished as single sounds. Of these single sounds, Roland made “spectral pictures” that could be smeared as suggestions to complement the grid lines. Followed by an acceleration to prestissimo particles again.
Part 3: SURFACE, multiphonics morphing to airy flageolets. The KYMA system creates algorithmic multiplexed sounds and dissolving into a muffled softness.
The audience was captivated for 24 minutes by the music produced by the famaQ string quartet and Roland Kuit. An eight minutes standing ovation followed.

To celebrate the centennial of the founding of the art movement De Stijl (2017), Kuit created a triptych for Dutch radio station Concertzender.

More about the Triptych of De Stijl

Roland Kuit is a creative expert in De Stijl movement and electronic music.
We have a responsibility so see this with contemporary eyes and ears. To be radical as well with respect to the past. Kuit’s research started in the Mondrian house, House of Birth of the painter Piet Mondrian: Monads and Beyond. Together with the Dutch Light artist Karin Schomaker, researching Mondrian and movement in digital visual arts (2013).

All started with the special relationship between Piet Mondrian and composer – pianist Jacob van Domselaer. Between 1913 and 1917, Van Domselaer composed Proeven van Sijlkunst (Samples of Style in Art, for piano, 1916). The first combined relation between the horizontality and the verticality in music. Relating to the passivity and activity. A static balance. The tension lies into the metre, the perpendicular element. Supplemented by quasi-chaotic tone clusters.
Between 1950 and 1955, the Belgian composer and founder of the musical serialism Karel Goeyvaerts, managed to broaden this principle of the standing sound structures. Goeyvaerts stacked electronic created sinus tones on each other as sound objects. Additive synthesis. 
CAHIER-M published by the Dutch composer Dick Raaijmakers (2000) is about the morphology of electric sound. This inherently single-layered type of sound is discussed in the light of ‘neo-plastic’ music as suggested by the painter Piet Mondriaan in the 1920’s. He advocated a kind of music that consisted of single-layered, ‘single-colour’ electric sounds.

Roland Emile Kuit invented sound and elaborates upon this. He engages in research as a ‘sound architect’. Kuit constructed between 2010 and 2017 virtual electronic systems where spectral chaos was converted to serial sound constellations. Sounds that are captured at the atomic level and reduced to algorithmic trajectories. He used pure tones to create spectral building blocks. This means stacking energies to build harmonic sound planes. The diagonal aspect is obtained by phase differences. The spatial modus is setting this weighed points conscientiously in space to divide this spectrum and display it on a speaker maze.

On 9 July 2017 the World Premiere of Rietveld Pavilion took place in the sculpture park of the Kröller-Möller Museum in Otterlo. The Netherlands.
With this work, Kuit makes a connection between De STIJL constituted ideas, architecture, and today’s art.

Kuit’s output spans composition through sound art, sound-architectural installations, collaboration with experimental artists, designers and scientists, acousmatic performance and live electroacoustic improvisation. 
Research, imagination and technical association made him write his books about combined synthesis techniques. Lecturing at diverse universities and creating radio programs about electronic music giving him a platform to discuss his conceptual worlds. 
Roland Kuit performs on concert stages, art galleries and museums. 
His books about research in modular synthesis techniques, music and sound art are published by Donemus, Publishing House of Dutch Contemporary Classical Music.

More information about Roland Kuit
Website Roland Kuit

 

Rudi Martinus van Dijk

General
The composer Rudi Martinus van Dijk was born in Culemborg, the Netherlands, on 27th of March 1932.

Education
He studied with Hendrik Andriessen and Leon Orthel at the Royal Conservatory of Music in The Hague and first came to the fore as a composer at the age of 19 when his Sonatine for piano was performed at the International Gaudeamus Music Week. Van Dijk emigrated to Canada in 1953 and became a pupil of the American composer Roy Harris two years later. The Canada Council of Arts enabled Van Dijk to further his studies in Paris with Max Deutsch, a pupil of Schoenberg, while concluding his piano studies with Kendall Taylor in London.

Career
During the 1950s and 1960s, Van Dijk on a regular basis wrote music for and performed as pianist for radio and television for the Canadian Broadcasting Corporation (CBC). Between 1964 and 1966, Van Dijk was active at the BBC in London involved particularly in educational television programs broadcast in many corners of the world including Australia. In 1966, Rudi van Dijk was appointed teacher of composition and piano at the Royal Conservatory of Music in Toronto. From that moment onward teaching became a part of his music life. In 1972, he was appointed teacher of composition and orchestration at Indiana University (USA), and in that same year took a similar post at the Berklee College of Music in Boston. It was not until 1985 that Van Dijk returned to Europe and after spending a year in Spain writing music he became composer in residence at Dartington Hall in Devon (UK).

Compositions
Van Dijk has created an impressive oeuvre. His music has become increasingly popular throughout England and Europe. One of the highlights of Van Dijk’s vocal music is ‘The Shadowmaker‘ (1977) commissioned and sung by the famous baritone Victor Braun in a performance with The Toronto Symphony under the baton of Mario Bernardi. September 1991 saw the Dutch premiere of the ‘Violin Concerto‘ (1984) at the Zeeuws Vlaanderen Festival with Polish-Dutch solo violinist Robert Szreder and the Radio Symphony Orchestra under the direction of Jan Stulen.

The national premiere of the ‘Four Epigrams‘ (1961) occurred in September of 1993 with The Hague Philarmonic conducted by Jac van Steen. The ‘Piano Concerto‘ (1994) was premiered in May of 1996 to acclaim with Geoffrey Douglas Madge as soloist and the North Netherlands Philarmonic with conductor Viktor Liberman. Hyperion recording artists The Raphael Ensemble, commissioned and performed the ‘Sextet‘ in England in 1998 and his ‘Sonata for Violin and Piano‘ was performed in recital at the Wigmore Hall and broadcast on BBC3 with Anthony Marwood and pianist Aleksander Madzar. As part of the International Chamber Series 2001 at the Concertgebouw in Amsterdam, Hyperion recording artists the Florestan Trio performed the premiere of Van Dijk’s ‘Piano Trio‘. 2003 saw the premiere in Germany of Rudi van Dijk’s final work ‘Kreiten’s Passion‘, a monumental piece of music for baritone, orchestra and full choir.

Awards
In 1953, Van Dijk won the First Prize in the Gaudeamus composition competition with his ‘Sonatina‘ for piano. In 1962 and 1963, he received the Ohio Award for Background Music.

Roland Kuit

General
From his childhood, Roland Kuit has always been fascinated by the phenomenon of sound. Surrounded with instruments like a grand piano, violins, double bass, trombone and guitars, he started to experiment with these sounds and the tape recorder. He was 6 years old at that time. This early playground formed a conceptual brain scheme for the rest of his life: sound-experiment, experiment-sound.

Education
At early age he started to play the flute and was accepted at the Royal Conservatory, The Hague continuing his sound research in extended flute techniques. Here he met the music of Karlheinz Stockhausen, Luigi Nono, Berio, Dick Raaijmakers and other composers in electronic music. Experiencing limitations in acoustic music, Roland bought his first synthesizer. The ARP 2600.

At that moment Roland made a decisive step in his career by subscribing at the prestigious Institute of Sonology in the Netherlands, one of longest-running research and production hubs on the European electroacoustic music scene. It was at the end of formalism, serial music and new ways in sound creation and composition had to be explored. Under the influence of director Gottfried Michael Koenig this post-formal framework was opened for experiment. Roland studied analogue and digital sound science. Synthesis- and studio techniques next to composition.

Compositions
At the IRCAM in Paris, Roland experienced new ways in acoustic composition and research of physical modeling in spectral music. Earlier he had accomplished a virtual string quartet with use of analogue synthesis. Analogue synthesized sounds have something alive in the sound due behavior of the apparatus. Sounds created by digital means seemed to be a kind of static so Roland used his knowledge to apply his techniques in the digital realm. His morphing between different techniques and shaping of algorithms became Roland’s signature. His output spans composition through sound art, sound-architectural installations, collaboration with experimental artists, designers and scientists, acousmatic performance and live electroacoustic improvisation.

Career
Research, imagination and association in a technical way made him write his books about combining synthesis techniques. Lecturing at diverse universities and creating radio programs about electronic music giving him a platform to discuss his conceptual worlds.
He performs on concert stages and in art galleries and museums. His books and music are published by Donemus, Publishing House of Dutch Contemporary Classical Music.

Latest publications

Vladimir Rannev

Artist Statement
Music composing is for me an absolutely reflexive activity. It is the sound representation of my personal resonance with the surrounding social environment, memory of culture and experience of introspection. The formation of my compositional technique has been influenced by classical music education, years of playing in a rock band and projects with contemporary artists. Now I see no contradiction between these “schools”, on the contrary, this crossover experience has made me free from the domination of one of them. Rock-n-roll and visual art scene has helped me in more reactive attitude to life and academic education – in creativity in form, structural thinking and sound searching (extended instrumental and vocal techniques).

General
Vladimir Rannev was born in Moscow, USSR, 1970, and has been living since 1998 in Saint-Petersburg (Russia).

Education
In 2003, he graduated from the composition department of the St. Petersburg Conservatory, where he studied with Professor Boris Tishchenko. From 2003 to 2005, he studied electronic music at the Hochschule für Musik in Cologne with Professor Hans Ulrich Humpert.

Compositions
Rannev writes acoustic and electroacoustic music, which has been performed in Germany, Austria, Switzerland, the UK, Finland, Japan and the USA by various ensembles, including the Orchestra of the St. Petersburg Conservatory Opera and Ballet Theatre, the Russian State Academic Symphony Orchestra, eNsemble, Studio of New Music, Moscow Contemporary Music Ensemble, vocal ensemble N’Caged (Russia), ensemble Nostri Temporis (Ukrain), Orkest de Volharding, Amstel Quartet (The Netherlands), ensembles Mosaik, Les Eclats du Son, Integrales, LUX:NM, Clair-obscur, El Perro Andaluz, choirs Singakademie Oberhausen and Cuntus Domus (Germany), Ums’Jip, KontraTrio, Ensemble Phönix Basel, Ensemble Proton Bern (Switzerland), ensemble NAMES (Austria).

Career
Rannev works also in theatre, where he took part in numerous staging projects in several theaters, such as Alexandrinski Theatre (St. Petersburg) and the Theatre Hebbel am Ufer (Berlin). Rannev works also as a lecturer at the St. Petersburg State Rimsky-Korsakov Conservatory and the St. Petersburg State University. He is a member of the StRes (Structure Resistance) group of composers (Russia).

Awards
Rannev is a recipient of a Gartow Stiftung scholarship (Germany, 2002), the winner of the Salvatore Martirano Award of the University Illinois (USA, 2009), Gianni Bergamo Classic Music Award (Switzerland, 2010). His opera ‘Two acts’ to a libretto by Dmitri A. Prigov was premiered in the Hermitage Museum in November 2012 (with Ensemble Mosaik and conductor Enno Poppe) and took the Grand-Prix of Sergey Kouryohin Prize 2013. The opera ‘Drillalians’ was nominated for the National Theatre Golden Mask Prix 2016.

Latest publications