“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)
NTR ZaterdagMatinee commissioned Martijn Padding to write an orchestral work for the occasions of the 80th birthday of Louis Andriessen. Paddings Three Birthday Pieces will have its world premiere on Saturday afternoon in the Concertgebouw, together with a brand new work by Andriessen himself (The Only One)…
The last part of Three Birthday Pieces, The One And Only, is a playful reference to The Only One by Louis Andriessen.
“It has become a triptych: Birthday Chorale, Keizersgracht Shuffle and The One And Only. It is full of personal references and also teasing. Louis, for example, does not like the celesta at all, because he thinks that sound is too fuzzy. Well, then I give the celesta a solo role in the first part. ”
In the last part Padding brings up a speaking Louis Andriessen. You hear him speak through the loudspeakers, sentences from a radio interview from 2000. For example, that you “don’t want to understand music”. At the end you hear him say: “I think it’s more than enough like that.”
Martijn Padding loves to write for people he knows well. That is why orchestral work is a problem, because he very much values that contact with the musicians. At the same time he has developed himself to an orchestra composer. Well, how are those things going? You are called and you would be crazy if you say no. ”
“In the current time it is important that you write music for an orchestra that can be performed with a limited rehearsal time, without losing depth and content. That was already the case in Mozart’s time. If you still write very complicated scores, you are actually putting yourself outside of reality. I’m looking for the essence. ”
On Wednesday December 18, Insomnio will play a special concert with works by Bernard Benoliel (1943-2017). This unknown composer wrote 15 uncompromising works in often very unusual instrumentation, half of which were never performed before.
With this concert, Insomnio offers its listeners a unique opportunity to be the first to experience works by Benoliel that were never heard in live performance up to now. Unconventional music that demonstrates craftsmanship and adventure…
– The Black Tower Variations (1968, rev. 1999; 14 min.). For soprano and 12 instruments.
– Invoking Sonic Stone (2003, 40 min.). One of his core works, for an extremely unusual instrumentation with e.g. church organ, amplified piano and viola, 10 timpani and all kinds of percussion. Underlying to this work is the 9th-century hymn Veni Creator Spiritus.
Like many great composers before him, Bernard Benoliel was uncompromising in his artistic choices. He sometimes opted for very unusual instrumentations, making his works difficult to perform. Only now do possibilities exist for this, so that the entire oeuvre of this hitherto unknown composer can be unlocked.
During the concert, a further explanation of the composer and his works will be given by Bruce Walter Roberts, who has known Benoliel very well, and Ulrich Pöhl, conductor of Insomnio.
All of Benoliel works will soon be published by Donemus and posthumously recorded on CD. Insomnio was the first to be asked to contribute to this project and will be entering the studio in January 2020 for this purpose.
Bernard Benoliel was born in 1943 in Detroit (USA) from parents of very diverse origins. He died in Amsterdam in 2017. He was a musicologist by training and gained fame and a social position in England as the administrator of the Vaughn Williams Trust, from which he could offer opportunities to many young composers. Benoliel was someone with a profound interest in philosophy by, among others, Schopenhauer, Nietzsche and Thoreau and poets such as Whitman or Emily Dickinson.
As a composer, Benoliel has always been looking for his own sound. His music is rooted in the canon of our music history (Beethoven, Brahms), but his musical sources of inspiration were mainly Schoenberg, Wolpe, Busoni, Skriabin and Varèse. Benoliel’s work is quirky, often with wonderful instrumentations. He has never had the opportunity to hear half of his work performed.
For this album, Ilonka Kolthof chose six compositions written for the ‘classical’ combination of piccolo and piano, highlighting the piccolo in a wide variety of different guises. It whispers, sings, cries and even screams at times. One moment it revels in virtuoso acrobatics, the next it moans in hushed undertones. The whole gamut of its expressive potential is explored. On Sunday, November 24th Ilonka Kolthof & Ralph van Raat will present this new album…
Ilonka Kolthof is convinced that the piccolo has entered a new era. After years of being perceived as just a colour in the orchestra, the time has come for this beautiful little instrument to conquer the stage on its own merit. Despite its negligible size, the piccolo harbours a surprisingly rich palette of sounds. Its powers of expression and outspoken character offer endless opportunities to elevate it into the ranks of solo instruments, equal to the flute, the violin, the piano and so on.
With that in mind, Ilonka Kolthof founded the Dutch Piccolo Project. Its aim is to actively promote the piccolo as an autonomous solo instrument and create a repertoire. Close collaboration with a number of Dutch composers has so far resulted in an eclectic collection of new compositions for the piccolo as a solo instrument and in combination with other instruments such as the piano, the harp and percussion. In doing so, its repertoire has expanded substantially.
The compositions on this recording also demonstrate the variety and remarkable standard of contemporary music in The Netherlands. Ilonka therefore carefully selected composers who not only show affinity with the piccolo, but also speak with a unique voice, each showcasing the diversity of musical creativity in her home country.
This album is the beginning of an exciting journey, which definitely will take her to places she hasn’t been before. It raises expectations for the future of the instrument she so dearly loves.
Bring something to lay down on and lie down comfortably around the pianos. Let go of the stress and worries and let the Christmas peace embrace you with beautiful piano music and lighting design…
For the first time in Denmark this minimalist music that takes hours is played, namely Canto Ostinato by Simeon ten Holt. This work is more a ritual than a concert. Canto Ostinato enchants and touches audiences around the world with mesmerizing sequences of repetitive motifs, subtly changing textures and unique tones.
LayDownConcerts concept came to Tanja Zapolski as inspiration from the Netherlands, where one of the minimal music master pianists Jeroen van Veen performs Canto Ostinato with his www.liegekonzert.com. Tanja would love to bring this new and amazing type of concerts to Denmark and hope you will enjoy it as much as people do in The Netherlands.
On November 12th the Nederlands Saxophone Octet presented their CD with Simeon ten Holt’s Canto Ostinato. This CD was released after a very successful crowdfunding. Saxophonist Stefan de Wijs made the arrangement and received the approval of the heirs of Ten Holt…
Canto Ostinato of Simeon ten Holt consists of a carefully selected set of notes that develops through 8 mouths, along 16 hands and 80 fingers. In an organic way, rhythm and melody become more complex and again simple, noisier and again calm, emphatic and serene again. The musicians follow each other or take a different initiative in an apparently endless game.
Canto Ostinato is perhaps the most popular composition from the Netherlands. The piece is in the top ten of the Heart and Soul List of Radio 4 every year. In 2018 it was number five and the Dutch Saxophone Octet was invited to give a live performance during the Heart and Soul Festival in TivoliVredenburg. The fact that they received dozens of enthusiastic e-mails from listeners afterwards indicates how much this Canto of air and keys is appreciated.
The Amsterdam Bach Society invited Maarten van Norden to write a new piece for their 50th anniversary. The theme of the anniversary-concert is ‘Gloria through the Ages’ in which a series of Gloria’s from the sixteenth century up to now will be presented. Maarten van Norden’s Gloria Musica will be preceded by Gloria’s by Palestrina, Monteverdi, Bach, Vivaldi, Haydn, Schubert, Gounod and Ton de Leeuw…
Maarten van Norden: “I have used the original Latin psalm-text and turned it into an ode to the music. The religious terms are replaced by a celebration of music in all its glory. Also, I was inspired by Van Morrisons 1965 hit-single ‘Gloria’ with the group Them. From this, I took the idea of using separate letters as text.”
The music refers to old music and polyphony as well as contemporary minimal music. As usual in Maarten van Norden’s music, there is a strong emphasis on the rhythmical aspect. Bach is celebrated by using the letters of his name, and Händel is present in a little quote from his ‘Ode for Cecilia’s Day’ which is just like Gloria Musica an ode to the music.
The first performance will be in the Dominicus-church in Amsterdam on November 16th at 4 PM and is sponsored by the Amsterdams Fonds voor de Kunst. From then on the piece is available for performance by other choirs. Since the first performance is by an amateur choir we especially encourage professional choirs to program this piece.