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Jan van de Putte

Jan van de Putte was born in Veenendaal, Netherlands in 1959. He has been living in Utrecht, Brussels and Rotterdam, before leaving for Paris. Since 1996 living between Paris and the Netherlands.

Education

As a child he learned violin, and later also piano and bass guitar. Played in popband and in classical youth orchestra. Thereafter he studied Musicology, Sonology at Utrecht University with among others Jos Kunst and Floris van Manen, and Musical Theory, Composition and Electronic Music at Utrecht Conservatory with Joep Straesser and Ton Bruynel.  Finished his compositional studies with Klaas de Vries, while teaching at the same time Electronic Music at the Rotterdam Conservatory. Darmstadt course in 1982 (Rihm, Lachenmann, Feldman), masterclasses by I. Xenakis and J. Cage in Middelburg, Stockhausen and Kagel in The Hague, Ligeti in Rotterdam. Resident in Van Doesburg House in Meudon (Paris) 1996-1997, and selected for IRCAM year-course 1997-1998 in Paris.

Compositions

From any perspective, Jan van de Putte’s work is extraordinary. His compositions are shaped by Mahler, Debussy, Webern, Varèse, Stockhausen, Lachenmann and Rihm; traditional music from Indonesia, China and Japan; film directors Tarkovski and Bergman; artists Beuys, Twombly, Kiefer and primitive art; as well as authors Dostojevski, Beckett, Céline and Artaud. In addition, he has shown great interest in traditional folk and puppet theater, both Western and non-Western in origin, as this is a form of theater wherein music has always played a significant part.

In 1991 In Hora Mortis (1990) was performed during the Project Jonge Componisten (a project for young composers). It is a musical setting of a text by Thomas Bernhard for soprano and chamber orchestra. Es Schweigt (1993), also with a text by Thomas Bernhard, was written for the Asko Ensemble and soprano Angela Tunstall who premiered the work.

In 1994, Gabe Tarjan premiered the 70-minute mini-opera for one timpano solo Om mij mijzelf met mijn aan mezelf en mezelf en mijn eigen in Rotterdam. During the Holland Festival 2004  his opera Wet Snow was premiered with soprano Barbara Hannigan in the leading role. It is based on the second part of Notes from the Underground by Dostojevksi. In 2005 he was commissioned to write a piece in honour of the inauguration of Het Muziekgebouw aan het IJ in Amsterdam during the Holland Festival 2005: Ee jya nai ka ee jya nai ka ee jya nai ka! for three ensembles.

In 2007 his Arche for ensemble premiered at the ISCM festival in Hongkong and in 2009 his chamber opera I Am Her Mouth (based on the first part of Notes from the Underground by Dostojevksi) in a performance by Gerrie de Vries and the Matangi string quartet with piano.

Kagami-Jishi, a concert for piano and large orchestra, premiered in the Concertgebouw in 2012. In 2015 Jan van de Putte started on a grand project for various instruments and electronics. Its first movement was a piece for violin and electronics, dedicated to Joe Puglia: For Joe. Puglia performed the work that same year in the Hague municipal museum and on the November Music festival.

From 2007 till 2014 he wrote the Pessoa song-cycle. The first movement Uma só divina linha was premiered by the Schönberg Ensemble with conductor Reinbert de Leeuw and soprano Barbara Hannigan in the Muziek-gebouw in 2007. As most of the songs, it is a setting of a text by the Portuguese poet Àlvaro de Campos (a heteronym of the poet Pessoa). It was performed again during the Melbourne International Arts Festival 2008, and by the ensemble Remix in Porto, Amsterdam and Antwerp.

The second movement, Addiamento, was commissioned by ASKO | Schönberg Ensemble, as was the entire cycle, and premiered with mezzo-soprano Katalin Kàrolyi in 2010.

The third movement of the cycle, titled Bamboleamos no mundo, is a composition for a large ensemble, solo soprano and solo alto. It premiered in 2013 with soprano Keren Motseri and mezzo-soprano Barbara Kozelj

The cycle’s next movement, Insónia, was written for large ensemble, choir of sixteen voices and two solo sopranos. It premiered in the Concertgebouw in Amsterdam in 2016, juxtaposed by the second and third movements.

This whole cycle has been recorded on a double CD.

Currently, Van de Putte is working on commissions for the STOLZ hobo quartet, for the ensemble Klangforum Wien and on two large solo works: one for cellist Katharina Gross and one for violinist Joe Puglia.

Awards

In 1992 the Amsterdam Art Fund granted the work In Hora Mortis their encouragement prize, and in 1993 it won 3rd prize at the International Rostrum of Composers. In 2013 Kagami-Jishi received the Matthijs Vermeulen prize.

Addiamento was nominated by Arvo Pärt in 2011 for the Prix de Composition Musicale 2011 de la Fondation Prince Pierre de Monaco, and in 2015 Bamboleamos no mundo was nominated for the Prix de Composition Musicale 2015 de la Fondation Prince Pierre de Monaco.

Alexander Basilov

Alexander Basilov was a Russian composer and pianist who lived and worked in Moscow (1946-2007). He completed both composition and piano studies at the Moscow State Conservatory and later became a piano professor at the renowned Gnesin Music Institute. He finished his piano studies with distinction under the guidance of Stanislav Neuhaus and Lev Naumov and later finished his composition studies with Evgeni Golubev and Alfred Schnittke.

From 1970 he worked at the Gnesin Music Institute as a piano and composition teacher, later becoming a member of the USSR Union of composers where he was vice-president at the Children’s Academy of Music from 1990-1999.

Inspired by composers like Alfred Schnittke, Frederik Chopin, Sergei Rachmaninov, Stanislav Neuhaus and Rodion Shedrin, Alexander Basilov wrote over one hundred works, focusing on piano literature and vocal repertoire. Additionally, he composed a large number of choir works, music-theatre plays and orchestral pieces.

Alexander Basilov was a leading figure in the contemporary music scene of Moscow at the turn of the century, performing frequently in concerts and giving masterclasses within Russia and abroad. He was a very dedicated piano and composition teacher and regularly organised concerts at his beloved Peredelkino. This special village, just outside Moscow, hosts the ‘Pasternak House’ – summer house of the famous writer Boris Pasternak -. In organising concerts and soirées of newly written music, Alexander Basilov was honouring the tradition of the late Heinrich Neuhaus, who had organised similar evenings at the Pasternak Dacha.

Devoted to teaching composition to children and curious to discover what music they created, Alexander Basilov organised concerts and workshops for young students. He wrote articles on the importance of teaching composition from early on, highlighting its value for music education and beyond.

FD Persoonlijk interviews Van Peursen

The FD Persoonlijk (Personal Magazine of the Dutch Financial Newspaper) placed an article on Davo van Peursen as one of the 3 portraits entrepreneurs in classical music….   

‘Every composer has a personal identity. If they extend that, there is room for everyone’, says Davo van Peursen, CEO of Donemus Publishing.

‘Mozart, Bach, Schubert: classical music of last centuries is known by many. Contemporary music is not that popular. Such a pity, because it deepens, widens, connects and above all: it holds us a mirror, because it is made in the time in which we live.

Read the article (Dutch)

Scholary edition of Mahler X

We recently released two interesting books on the subject made by Frans Bouwman: a scholarly transcription of all its manuscript pages as well as a new two piano arrangement. Read the review by Aart van der Wal…  

Seven fully-fledged performing versions of Gustav Mahler’s last unfinished Tenth symphony have now been published, of all which have been commercially recorded at least once. These efforts, together with recent books and articles on the subject, indicate an unabated interest in Mahler X.

A fundamental question remains: how much of the music in any performing version is authentically Mahler’s? Until now this question could not be answered, because a complete, scholarly, chronologically ordered, annotated and user-friendly transcription of the source material, which unequivocally records the extent to which Mahler completed his Tenth Symphony, was not available. Such a reference text is now finally presented here. It endeavours to provide an insight into the chronology of Mahler’s notation, to help to clarify the development of Mahler’s own ideas and thus provide a scholarly grounding upon which future editors may base their editorial decisions. The transcription, presented in the Donemus publication for the first time in its entirety, eschews any additions that did not originate from Mahler himself. It is intended as an easily accessible and comprehensible reference work for the music scholar, aspiring conductor or Mahler devotee.

To assess both the quantity and quality of the surviving material requires the examination of autograph materials dispersed among five different libraries as well as familiarity with five distinct facsimile editions. The availability of three electronic libraries facilitated easy access to the material. However thorough understanding of the sketches and drafts, particularly as regards their interrelationship, can be attained only after extensive study. The present transcription enables the reader to consult on one single page and with utmost clarity all of the existing material pertaining to any given bar of the Tenth Symphony……

Read more on Opus Klassiek

(© by Aart van der Wal)

Symphony Nº 10: Chronological Transcriptions of the Sketches, Short Scores and Orchestral Drafts / Gustav Mahler; Frans Bouwman, editor

Symphony Nº 10 / Gustav Mahler; arranged for two pianos by Frans Bouwman

Join our drink on January 12!

The Donemus Foundation invites you for our annual network drink at the Hague Tower. Meet composers, conductors, programmers etc…   

You’re welcome to join us from 16-19h at the suites on the 40th floor. Enjoy the view, meet your music friends and let us share some visions and plans for 2018. The Donemus Board has to share some news.

Please enter the form, so we can prepare your badge.

 

The Pessoa by Jan van de Putte on CD!

On March 5, 2016 Jan van de Putte was at the Zaterdagmatinee. A full program with his complete cycle of the Pessoa songs. All who were there remember the impressive performance. It was recorded successfully and there were plans for a CD release…  

It took 1,5 year to have the CDs completely finished. On november 30 the double CD will be presented at the Muziekgebouw aan ’t IJ. After the première of a new work by Klaas de Vries by ASKO|Schönberg, the CD will be presented by Etcetera.

You’re welcome to buy your copy (for just € 23), meet the composer, the ensemble and conductor Reinbert de Leeuw. Soprano Keren Motseri and mezzo-soprano Barbara Koselj will sing the famous duet and Jan van de Putte will be available to sign the CD.

Donemus offers you a drink. Welcome.

Support new Etudes for Bass Clarinet

Please donate to the crowd-funding campaign by Fie Schouten for a new album of etudes for beginning bass clarinetist…   

Two years ago Fie Schouten’s edition of “Bass Clarinet Miniatures” was published. That book contains short solo works for professional bass clarinetists and advanced conservatory students. Following the success of that project, now Fie Schouten is inspired to publish a new book of etudes for the beginning bass clarinetist. With your support, this crowd-funding campaign will make that possible.

She collaborates with 8 composers who are excited about this project and happy to contribute new etudes to this book:

Oguz Büyükberber, Tobias Klein, Vanessa Lann, Georgia Nicolau, Joris Roelofs, Steffen Schorn, Petra StumpLinshalm, Lotta Wennäkoski

Donemus has already agreed to publish the book. The aim is to release it in September 2018 – at the start of the 3rd Basklarinet Festijn, an international bass clarinet festival in The Netherlands. The Amsterdam Fonds voor de Kunst is supporting this project too. Please consider a donation and see the rewards.

Crowd-funding at Voordekunst

More about Fie Schouten

Donemus at November Music

November Music is an international music festival founded in 1993 and based in ‘s-Hertogenbosch, The Netherlands. It gives the audience a bird’s-eye view of what’s happening in with new music. Contemporary composed music features jazz, improvised and electronic music, musical installations, and music theatre….   

Each year one can listen to a wide pallet of the latest works published at Donemus. This year we proudly present the next works performed at November Music:
– Ode to Man by Yannis Kyriakides in ballet by Silbersee ‘ Homo instrumentalis’
      Concert/Work

– Opera Fortress Europe by Calliope Tsoupaki performed by opera Trionfo and ASKO|Schoenberg
      Concert/Work

Lacrimosa or 13 Magic Songs by Maxim Shalygin
      Concert/Work

– Mini-opera A Light World by Mateo Soto
      Concert/Work

– Kus de regen by Micha Hamel
      Concert

Martynov at the Pacific Northwest Ballet in Seattle

Vladimir Martynov – Autumn Ball of the Elves, for string orchestra; now with ballet by the Pacific Northwest Ballet!

Vladimir Martynov’s Autumn Ball of the Elves, for string orchestra, represents a Russian mix of minimalism and post-romanticism that can also be heard in the music of Estonian composer Arvo Pärt. Both composers abandoned academic compositional styles following religious conversions and developed individual voices influenced by personal interests and convictions. In Autumn Ball of the Elves, Martynov applies a theme and variations structure to a minimalist palette.

(Program note by Doug Fullington.)

Read more….

Vladimir Martynov at Donemus

World premiere Vanessa Lann – Rise for two bassoons and (amateur) orchestra

Martine Reurings & Dick Hanemaayer (bassoons) and the Van Wassenaer Orchestra under the direction of Benjamin Boers will perform the world premiere of Rise of Vanessa Lann on November 19…  

A more prominent role for the bassoon – not hidden within, but standing in front of, the orchestra – that is what the Dutch Bassoon Network wished to create through its commission to Vanessa Lann to compose a concerto for two bassoons and orchestra. And with the unique goal of creating a work primarily intended for amateur bassoonists. The Dutch Performing Arts Fund provided the financial support for this commission. The first performance will take place on Sunday, 19th November 2017, featuring Dick Hanemaayer and Martine Reurings as soloists, along with the Van Wassenaer Orchestra under the direction of Benjamin Broers.

Concertos for two bassoons and orchestra have existed for some time, but this work is unique: the sound combinations between the two bassoons are totally new, as are the timbres within the orchestra. The work begins with the two bassoon soloists, the first bassoon standing before the orchestra, and the second bassoon answering from within the ensemble. Their tones intertwine in short garlands, followed by repeated rhythms that will return in the second movement to give an important impulse to the music. With a leap of a minor ninth the bassoonists land on the beloved low C. That’s how the first movement begins. And yes, after the first movement the title of the piece will be celebrated, quite literally. But “Rise” (as a piece and as a project) is unique for other reasons. From the very start the main goal was to give as many players as possible the opportunity to perform the work. Special arrangements have also been made with the publishing house Donemus to make the work available to orchestras inside and outside the Netherlands. The two bassoonists from each orchestra performing the piece will have their hands full with the notes and rhythms. Even though the piece does not contain the virtuoso passages and cadenzas of the typical classical solo concerto, the solo parts are still demanding in other ways. In the second movement the music speeds up, with repeated rhythmic patterns. The third movement brings the sounds, tones and intervals from the first movement back into the picture. And in the fourth movement the rhythmic interplay within the entire orchestra leads to a surprising conclusion…..

Van Wassenaer Orchestra

Rise at the Donemus Webshop

Dutch Bassoon Network