“Donemus is courageous and committed in the way it actively promotes new music…. While some other countries have equivalent organizations, I am not aware of any that is so proactive. Donemus sets a standard that others should follow.”
(Stephen Baggaley, Brisbane)
Still available: The ‘Andriessen Box’. The best gift to celebrate Louis’ 80th birthday!
Ten years ago Donemus, by then part of Music Center the Netherlands, brought great box containing 9 scores of Louis Andriessen selected by himself. These pieces give a representative overview of more than forty years of composing. The front of the box contains Gustave Moreau painting ‘Dalila’. The luxury box is still available at Donemus…
Pieces are: Image de Moreau, Base, Etude Pour Les Timbres, Trois Pieces, Caecilia’s Contrapunt, Ricercare, Trepidus, Feli-citazione, Blokken.
The basic assumption for Bas Mantel was to design something different to the traditional piano book, something special, retaining its original functionality at the same time. The front of the box, which holds nine piano booklets, represents the Gustave Moreau painting Dalila, this picture being Louis Andriessen’s personal choice.
So as to emphasize graphically the connection between the image and the nine works by Andriessen, Mantel has divided the painting into nine parts, one for each cover. Enlargements of these cuts will stress the details and the figurative symbols in addition to the abstract colour spaces. The composition, the painter’s touch, colour, rhythm and texture of the autonomous images are, so to speak, an interpretation analogous to the piece of music. In an indirect manner, Image de Moreau refers by its choice of cover to the Andriessen work Souvenirs d’enfance, which was also published in a box in 1969.”
On March 11th, Vanessa Lann got the Buma Award Classical during the Buma Awards Event in Hilversum. She was the most successful Dutch classical composer in 2018. Especially her ‘Dancing to an Orange Drummer’ had many performances…
The title Dancing to an Orange Drummer comes from the expression “moving to the beat of a different drummer.” The piece was inspired by the challenge of moving to a new country (in this case, the Netherlands), and for the composer, this meant feeling, and enjoying, the very different beat and energy of new people, places and customs. Lann uses two contrasting elements that gradually merge: simple melodies in the brass begin the work, against a repeated rhythmic pattern in the other instruments. The two groups do clash with each other, but eventually, the brass instruments take over aspects of the rhythmic pattern, while the others imitate the brass melody. This climaxes in a new unity in orchestral sound by the end of the piece. The original big band version of this work was written in 1993 for the Dutch ensemble De Ereprijs; the version for symphony orchestra was completed on request of the Boston Pops Orchestra on the occasion of their performance in May 2015 in Symphony Hall (Boston, USA).
The work was frequently performed by the Philharmonie Zuidnederland, as part of their youth project Heartbeat with conductor Peter Biloen.
Listen to Dancing to an Orange Drummer, version for ensemble:
On March 15, the Spectre Ensemble will bring a Homage to Luc Brewaeys at the Bijloke in Ghent. In December 2015, Luc Brewaeys passed away. He was one the most prominent composers in Flanders and an heir to spectralism. Philippe Hurel dedicated So nah, so fern, that will be premiered in this concert, to his memory. Years before, Brewaeys dedicated his Fêtes à tensions: (les) eaux marchent to his French friend and colleague. This piece contains numerous musical references from Tchaikovski and Debussy to Goeyvaerts, amongst which a meditative repetition of a funeral march. Where does a circle end?
“Fêtes à tensions: (les) eaux marchent” for 20 players was composed in 2012 as a commission from Ensemble Intercontemporain (Paris). They gave the first performance of the work on October 28, 2012 in de Stadsschouwburg (City Theatre) of Leuven during the Transit Festival and the ISCM World Music Days. The EIC was conducted by Jurjen Hempel. The score is dedicated to Brewaeys’ friend and colleague Philippe Hurel.
The title is a play on words. Translated literally, it means ‘Feasts with tensions: (the) waters march’. When reading fast with the omission of the word between brackets (“Faites attention aux marches”) it means ‘Watch your step’. Because of this title, Brewaeys included quotations of and references to march (or march-like) music. The attentive listener will thus recognize fragments by Ives (Three Places in New England, 2nd movement), Tchaikovsky (The Nutcracker, March), Berg (Three Orchestra Pieces, 3rd movement) , Goeyvaerts (Aquarius, introduction), Beethoven (9th & 3rd Symphonies), Varèse (Arcana) and Stravinsky (L’histoire du soldat). Just before the conclusion of the piece he also quotes a bit from Fêtes (from the Nocturnes) by Debussy, after all, the title obliges me to…
The work consists of two more or less interlocked sections followed by a brief coda. The first section is fast and rather nervous whilst the second is very slow and meditative even if one can always feel some tension underneath it. The coda is moderately fast, based on a percussion ostinato. Most of the rather complex harmonies are derived from ring modulated bell sounds, which means that the sounds are enriched with the sums and differences of their distinct frequencies. In the second section combinations of woodwind multiphonics create the harmonic fields.
The whole music has a certain atmosphere of obstinacy. This is achieved in the first section with moto perpetuo-like motives in the piano (and sometimes the harp) and vibraphone, a nod to the music of Philippe Hurel, the work’s dedicatee. The second section presents a possibly ‘funeral march-inspired’ meditative repetition. The repeated percussion motive launches the final coda.
On Friday, March 8 (Edesche Concertzaal) and Saturday, March 9 (Orgelpark), Doris Hochscheid, Frans van Ruth and Gonny van der Maten will give the premiere of Rick van Veldhuizen ‘cōnflārī’ in their new project ‘Nieuwe Registers’…
Rick van Veldhuizen and Donemus recently signed a publishing contract. Cōnflārī is his first work published at Donemus. The Royal Concertgebouw Orchestra commissioned him for their prestigious Mahler festival in 2020. On May 16, 2020 they will perform a new work of him along with Mahler IX.
The work cōnflārī, now in March 2019 is written for the combination of cello, piano and organ.
On Sunday, March 17th Kris Oelbrandt will be at the ‘composer’s portrait’ in the Orgelpark. Ralph van Raat will perform his ‘Catharsis’ and Jan Hage his ’12 Interludes’. He leads a silent life as a monk but his works do reach more and more listeners…
Kris Oelbrandt had a mystical experience at the age of 17 that has changed him forever. At one point he decided to enter the monastery, but he continued to compose. As a result of four concerts and new CD recordings, in December 2018 Klara Radio made an interview with Oelbrandt. (Listen here)
In the interview, he tells about the death of his father (‘a trauma’), about his vocation as a monk (‘you are caught at the collar’) and the unease that the concerts might cause (‘not pleasant for the monastic soul’). ). Monastic life has a strict planning of time – Oelbrandt composes between 3 and 6 pm – which stimulates his musical universe: ‘Silence arises through structure, the monastic order of the day.’ When asked whether he is more of a monk or composer, Oelbrandt replies: ‘The monks’ existence creates a fertile field, the music is the flower that flourishes from it.’ The music of Oelbrandt moves between two extremes: Olivier Messiaen and Arvo Pärt.
Starting on March, Pieter van Loenen will have a tour in the Netherlands as part of the ‘Dutch Classical Talent Tour & Award’. He will perform the new work ‘Jutters’, composed for him especially by Jan-Peter de Graaff…
Jutters is a work by Jan-Peter de Graaff for violin solo, commissioned by Stichting De Suite and dedicated to Pieter van Loenen. The piece will receive its premiere during Pieter’s Dutch Classical Talent Tour in 2019. The composition is based on two folk songs from the isle of Terschelling, where the composer was raised. In the piece, the two folk songs slowly emerge and dissolve again in a dense ‘seashore’-like texture, like pieces of wood drifting ashore. The title is derived from the plural of the Dutch word ‘Jutter’, meaning ‘Beachcomber’.
DONDERDAG 7 MAART 2019 – 12:30
Wilminktheater en Muziekcentrum Enschede (WP)
WOENSDAG 13 MAART 2019 – 12:30
Het Concertgebouw, Amsterdam
DONDERDAG 14 MAART 2019 -21:00
ZONDAG 17 MAART 2019 – 11:00
Willem Twee Concertzaal, Den Bosch
ZONDAG 24 MAART 2019 – 11:30
Theater aan het Vrijthof
WOENSDAG 27 MAART 2019 -20:30
De Harmonie, Leeuwarden
ZONDAG 31 MAART 2019 – 11:30
Zwolse Theaters, Zwolle
DINSDAG 2 APRIL 2019 – 20:30
Theaters Tilburg, Tilburg
DONDERDAG 4 APRIL 2019 – 12:30
ZATERDAG 6 APRIL 2019 – 20:00
Theater Orpheus, Apeldoorn
ZONDAG 7 APRIL 2019 -15:00
WOENSDAG 10 APRIL 2019 – 20:15
Ensemble Cross Meeting with Kirsti Apajalahti – violin and Rieteke Hölscher – piano will present the multidisciplinary work ‘Disturbing Light’ on April 4 at KUUB in Utrecht. In cooperation with Gaudeamus…
In a co-production of visual artist Marij Janssen and composer Rieteke Hölscher, a natural moving installation is floating in the air. The artist designed a cloud of figures that confuses the light and creates strange shadows on the wall. Meanwhile, you will hear the music of acoustic instruments – violin and piano – and electronic music with the sounds of nature, like seagulls, thunder, waves and wind.
During a performance of half an hour image and music enter into a dialogue. Inverted ‘musique concrète’ and recognizable minimalistic motifs will create a synergy between image and sound that reflects the illusion of endlessness and almost undeniable raises questions about the universe and life itself.