Joey Roukens: Angeli, at the Orgelpark

On Sunday, February 3rd, the female choir ‘Wishful Singing’ and Hayo Boerema will perform the new version of Joey Roukens’ ‘Angeli’ at the Orgelpark in Amsterdam…   

From brilliant angel-like singing to dark organ sounds: it all passes by with Angels & Demons by Wishful Singing and Hayo Boerema. Wishful Singing sings a sparkling adaptation of the work Angeli by Joey Roukens, which recently premiered at the Cello Biennale. In addition, the ensemble also features centuries-old Gregorian melodies in combination with grim organ improvisations by Hayo Boerema.

More info about the concert

Listen to the original version of Angeli by Wishful Singing and the Cello Octet Amsterdam during the Cello Biënnale 2018.

Luuk Hoekstra about Donemus scores in libraries

Recently, Donemus offered a new service model to libraries. Conservatories and other libraries can obtain an annual license at Donemus and then get access to the catalogue for all their students. This access is restricted to scores only and to PDFs. This offers a great opportunity for students to get themselves acquinted with many contemporary compositions…   

Read the presentation by Luuk Hoekstra, Senior Librarian Classical Music:

In fact, this story starts in 2012. I started working at Codarts in that year and one of the databases that we have access to is from the American publisher Alexander Street Press. They offer digitized scores of many well-known and lesser known composers, of which many are of American origin. Their account manager asked us back then, to make a suggestion for possible partners in The Netherlands, because they wanted to add more scores of local composers and publishers, for their clients outside of America. The first publisher who came to my mind was of course Donemus.

Within a year it was settled. A part of the Donemus composers was added with a part of their work, to one of the packages you could purchase as a Conservatory. This went well for a while. However, over the past years, the number of offered packages has been extended to 4, and the Donemus scores are divided over all 4. So, if you want to have access to all available Donemus scores, a conservatory has to purchase all these packages. This became too expensive for us.

As a result, by the end of 2017, Codarts decided to stop purchasing the scores package of Alexander Street Press. After that, I contacted Davo, asking if it was possible to get a direct access to the Donemus scores. This has resulted in the present collaboration. After a conservatory obtains a license the future musicians and composers are now able to study the scores of the most important Dutch composers in a low-threshold way.

At this moment in time almost all Dutch conservatories have joined. We are very pleased with this agreement and hope for a long lasting cooperation.

Niels Walboomers, new board member at Donemus

The Donemus Foundation is honoured to have Niels Walboomers joining the board. He works as Managing Director Sony/ATV Music Publishing Benelux, which is the largest music publishing company in the world owning the rights to songs by The Beatles, Bob Dylan, Drake, Ed Sheeran, Elvis Presley, Eminem, Lady Gaga, Motown, Queen, Red One, Taylor Swift, Willie Nelson & many More. With his experience, he brings a strong input from the music industry to Donemus…   

His personal statement:

I am a dedicated, reliable, loyal, hardworking and no nonsense independent music business entrepreneur. Never giving up and always staying very focused on making projects successful.Connecting people and businesses every day and creating new opportunities where and whenever possible.

More about the Donemus Board

Niels Walboomers at Linkedin

Hans Leenders conducts Chiel Meijering – Kiss of fire

On February 26th, the Georgishes Kammerorchester Ingolstadt will perform the well know work ‘Kiss of Fire’ of Chiel Meijiering together with Spark, the ‘classical band’. Hans Leenders will be the conductor for this concert.
The same Spark will be present at the closing act of Classical Next in May!…   

Willem Boogman – Composer Portrait at Orgelpark

The Orgelpark Amsterdam presents a Composer Portrait on WIllem Boogman on Sunday afternoon February 24th, 2019.
They selected eight recent compositions which in very different ways give a good impression of his work and what his music is about.
Willem Boogman will give an introduction based on the pieces on the program…   

There are two premieres: Liefde een woning, nr 1 for voice and organ, by Sandra Macrander and Geerten van de Wetering and Genieting VII for piano, by Bobby Mitchell.

The Composer Portrait will be performed by fantastic musicians!


1a. Waltz from Nous le chant III for The Busy Drone (2015)
1b. Introduction ›no la persona, ma la sua figura‹ (Giacomo da Lentini, 13th century)

2. De dag daagt for organ (2010 | rev. 2018)
transitional music for daybreak from the cycle Day Daily
Geerten van de Wetering – organ

3. Duik langs het koraalrif for accordion and five or six instruments at choice (2017)
Edition I for accordion and automatic organs, arrangement by Trevor Grahl
Vincent van Amsterdam – accordion

4. Genieting VII for piano (2015 | 2017, premiere)
Bobby Mitchell – piano


5. The Road To Here for brass quartet and organ (2018)
The brass quartet of 9×13 consists of Arthur Kerklaan and Anneke Romeijn – trumpets, Pierre Buizer – horn, Anton van Houten – trombone
Geerten van de Wetering – organ

6. Liefde een Woning, nr 1 for voice and organ (2018, premiere)
Sandra Macrander – mezzo/performer and Geerten van de Wetering – organ
(Commissioned by the Orgelpark)

7. Genieting VI for piccolo (2015)
Ilonka Kolthof – piccolo

8. Intermezzi, modulationes super Passionem secundum Joannem for accordion and string quartet (2016)
Vincent van Amsterdam – accordion, Janneke van Prooijen – violin I, Emma Breedveld – violin II, Frank Brakkee – viola, Eilidh Martin – cello

More info about the concert

Read the interview by Jacqueline Oskamp at Timbre

Willem Jeths – Du bist älter, du bist neuer

On Friday, February 8th, Edo de Waart will conduct the Radio Filharmonisch Orkest and the Groot Omroepkoor with the world premiere of Willem Jeths – Du bist älter, du bist neuer. Together with Tristan Keuris – Sinfonia. At TivoliVredenburg…   


Dass du nicht enden kannst das macht dich gross,
Und dass du nie beginnst das ist dein Loos.
Dein Lied ist drehend wie das Stern Gewölbe,
Anfang und Ende immer fort dasselbe,
Und was die Mitte bringt ist offenbar,
Das was zu Ende bleibt und Anfangs war.

Nun töne Lied mit eignem Feuer!
Denn du bist älter, du bist neuer.

Selige Sehnsucht

Sagt es niemand, nur den Weisen,
Weil die Menge gleich verhöhnet,
Das Lebend’ge will ich preisen
Das nach Flammentod sich sehnet.

In der Liebesnaechte Kühlung,
Die dich zeugte, wo du zeugtest,
Ueberfaellt dich fremde Fühlung
Wenn die stille Kerze leuchtet.

Nicht mehr bleibtest du umfangen
In der Finsterniss Beschattung,
Und dich reisset neu Verlangen
Auf zu höherer Begattung.

Keine Ferne macht dich schwierig
Kommst geflogen und gebannt
Und zuletzt, des Lichts begierig,
Bist du Schmetterling verbrannt.

Und so lang du das nicht hast,
Dieses: Stirb und werde!
Bist du nur ein trüber Gast
Auf der dunklen Erde.

Poems taken from:
Johann Wolfgang Goethe
Sämtliche Gedichte, West-Östlicher Divan 1827, p. 534 and p. 530
Insel Verlag Frankfurt am Main und Leipzig, 2007.

More info about the concert

Elise Menkhorst, our new board member

The Donemus Foundation welcomes Elise Menkhorst as new board member. She is a lawyer and specialist in the fields of intellectual property law and commercial contracts. She has been part of Clairfort from the time of its establishment in October 2017. She developed the current publishing contract of Donemus when it was still part of MCN. Donemus is very honoured to have her in the board…   

She provides advice and litigates in the fields of law governing trading names, trademarks, copyrights, designs and advertising, amongst others. Elise helps both Dutch and international businesses and acts in relation to domestic and cross-border disputes. She liaises with designers and businesses about securing the best possible protection for their rights. She also helps various parties in the case of an infringement. This may involve either enforcing rights in relation to other parties who exercise them in the absence of consent or where such parties are themselves called to account.

She is also active in drafting and assessing general terms and conditions. Apart from this, she is in her element when negotiating and drawing up commercial contracts, such as collaboration agreements and contracts providing for the assignment and exercise of intellectual property rights.

Elise studied at the University of Leiden and at the UC Hastings College of the Law in San Francisco. At the time Elise started out with the intellectual property and IT firm, De Gier | Stam & Advocaten, in Utrecht and later worked as part of the intellectual property practice of Banning Advocaten in Den Bosch. She has been involved in Clairfort since its establishment. She is an enthusiastic, accessible and highly motivated lawyer, and dedicates herself to obtaining the best outcome for her clients with the aid of strategy and expertise. Elise regularly gives talks in her fields of expertise and is a member of the Beneluxvereniging voor Merken- en Modellenrecht [Benelux Trademark and Design Law Association] (BMM) and the Netherlands Advertising Law Association [Vereniging voor Reclamerecht] (VvRr), amongst other things.

Elise Menkhorst at Clairfort

More info about the Donemus Board

Bernard Benoliel

Bernard Benoliel was born in Detroit Michigan in 1943 and grew up with his grandfather Bernardo Coppola, an Italian émigré, who after serving in the Canadian Army during the first World War, set up a restaurant in Detroit. Benoliel’s mother was a professional dancer, for a while on the New York stage. His father, a French citizen, immigrated to New York from Marseilles in 1910. Benoliel studied at the Detroit Institute of Music Art, piano with Margaret Mannebach and trumpet with Elmer Janes, both members of the Detroit Symphony Orchestra. His desire to be a composer was formed early – from a love of Beethoven’s music and life. He read composition at the University of Michigan under Ross Lee Finney, a pupil of Berg, and later attended extramural studies at Juilliard and the Manhattan School of Music. A more salient influence on his own music was the two years he spent as a private pupil of Stefan Wolpe from 1968 to 1970. He used to say he went to Wolpe not to learn serialism but because he had been a pupil of Busoni and it is Busoni who informs the dark matter in Benoliel’s style. In 1969 Benoliel won a Bennington Composer’s Conference Award and in 1970 a Tanglewood Fellowship where an early String Quartet was premiered. A year later he gave up his librarian position at G. Schirmer and moved to England. Why? “To write a symphony before I am thirty”. He also wanted to study more British music; he achieved both aims and apart from a brief sojourn in New York in 1977, Benoliel lived in Europe. In 1986 he purchased a canal flat in Amsterdam which he used as a composing studio for the next thirty years. From 2001 he was a Dutch resident and died in Amsterdam on 2nd March 2017.

Benoliel was best known in England as the Administrator of the R.V.W. Trust (founder Ralph Vaughan Williams), 1978-2000 and the Artistic Director of R.V.W. Limited, the company set up to look after RVW’s own music, 1983-2001. He proved a staunch supporter of young composers, electronic music, and neglected music by Vaughan Williams and his contemporaries. In all, usually with the estate’s financial support, he was responsible for recording more than 40 CDs of British music, the majority with the Four London Orchestras. Major projects included the complete symphonies of Hubert Parry and Roberto Gerhard. Perhaps the project though, of which he was most proud was the premier recordings of Herbert Howells’ great choral works, the “Missa Sabrinensis” and “Stabat Mater” with the LSO and Rozhdestvensky.

Benoliel composed slowly and revised extensively. From 1968 to 1998 his first nine opus works were all performed and all broadcast either by the BBC or Dutch Radio. In 1982 Sir Edward Downes and the BBC Philharmonic gave the premier of his Symphony ‘Sinfonia Cosmologica’, which Bayan Northcott called “awesomely transcendental”. In the 90s Gaudeamus and NCRV promoted a series of performances in the Netherlands of his Piano Sonata No. 2 after Gericault’s Fragments Anatomiques, with Kees Wieringa, and his String Quartet, with the Mondriaan Quartet. The Sonata and the Nonet ‘Boanerges’, were subsequently featured at Huddersfield Festivals. Listeners however, rarely had the opportunity to hear his works as a group or in context. He retired from England in 2001 and devoted much of his energy to a small property company he set up in 1996. His abiding interest in interior design and an acute sense of timing ensured he survived the 2008 economic crash relatively unaffected. He died leaving properties in Spain, France and the Netherlands.

He continued to compose; in all, he produced fifteen opus works. These include the Symphony, the String Quartet and three Piano Sonatas. In addition, he completed a cycle of four experimental works featuring an amplified solo stringed instrument and amplified antiphonal instrumental forces. These include his magnum opus the fifty-minute Infinity-Edge, A Transcendental Requiem, which reached its final form in 2014. The work is scored for amplified violin, organ concertante, chorus, amplified semi-chorus and orchestra. Invoking Sonic Stone features a setting of the Veni Creator Spiritus and observations on architecture by Osip Mandalstam, scored for two voices, amplified viola and an ensemble, including organ, piano and percussion. His last six works remained unperformed and un-promoted at the time of his death, largely by his own choice. However, over a period of several years, he worked with the technical staff of Donemus Publishing to produce a performing edition of all fifteen works. His final composition was a half-hour Organ Sonata completed in 2012. He never allowed any of his works to be released on commercial recordings.

He once wrote that he had a “Weltanschauung” and encouraged listeners to view his music in a philosophical context: especially with regard to the 19th century German philosophers – Schopenhauer and Nietzsche – and in America the transcendental poets – Emily Dickinson and Whitman, and the New England philosophers Thoreau and Emerson. He read and annotated the complete works of the 20th century philosophical psychologists C.G.Jung and D.H.Lawrence. He said that he viewed all these writers within the framework of Christ and the New Testament. He was baptised in the First Presbyterian Church of Detroit though in later life he was not a follower of any specific Christian sect.

Benoliel’s musical aesthetic was informed by Beethoven, whose life and works formed a bridge to his philosophical considerations. Most of the later composers, whom he loved and identified with, were influenced by Beethoven’s achievement: the German-French tradition, Berlioz, Bruckner, Brahms and Richard Strauss. The direct influences on his own idiom however, were Schoenberg, via Wolpe, Busoni, Varèse and Schriabin.

He worked extensively as a musicologist. In 1996 he was invited by ISIDA (University of Palermo) in celebration of their 40th anniversary to lecture on Szymanowski’s “King Roger” in the International Symposium “Time and Culture”. An extended version of the paper was published by ISIDA in 1997. In the same year his book Parry Before Jerusalem was published by Ashgate. His final project for the Vaughan Williams estate was the editing and publication of RVW’s early unpublished chamber music, completed in 2001. He considered these works superior to RVW’s early choral and orchestral music.

Benoliel was a chronic asthmatic from birth, and after 2009 his health began seriously to decline. He continued however, to remain in harness, insisting on walking the kilometre each way to the OLVG Hospital for treatment only days before he died of a lung infection. Appropriately his last meal was smoked salmon and a final bottle of champagne.
©Bruce Walter Roberts 2017
Executor of the Benoliel Estate.

Keuris, Kunst and Loevendie by the Score Collective

The Amsterdam Score Collective conducted by Ed Spanjaard will perform works by Jos Kunst, Theo Loevendie and Tristan Keuris e.o. at the Muziekgebouw aan ’t IJ on January 18th…   

A concert with Dutch music from the period between 1965 and 1980, a time in which the famous ensemble culture emerged. In 1980, Joël Bons, together with Score Collective conductor Ed Spanjaard, founded the Nieuw Ensemble, with which they built on Dutch ensemble music over many years. Bons was part of the birth of Score Collective and writes a new work especially for this concert.

Jos Kunst’s composition Insects gives the name to this program. The diversity and industry and sometimes the stubbornness of this class of arthropods symbolize the activity and productivity of the Dutch composers. In addition to Tristan Keuris‘ rarely performed work, one can enjoy the beautiful Six Turkish Folk Songs of Theo Loevendie. And also a brand new work by the youngest generation of composers.

More info about the concert