Michael Fine

Michael has a degree in English Literature from the State University of New York. Despite having no formal music education, he has an active international career in several aspects of the music business.

Michael Fine is widely acknowledged as one of the top classical recording producers in the world.

In addition to recording production, Fine is active in artistic planning including the Orchestre Philharmonique de Radio France where he is currently serving as Interim Artistic Director and with the Seoul Philharmonic.

Formerly Vice President of Artists & Repertoire at Deutsche Grammophon, he was the first American to hold the post of Artistic Director of the hundred year old label. In this capacity, Fine produced the label’s top selling releases for 1997, 1998 and 1999, among them A Hymn for the World and Voices from Heaven with Cecilia Bartoli, Andrea Bocelli, Bryn Terfel & Myung-Whun Chung, and Anne-Sophie Mutter’s recording of Vivaldi’s The Four Seasons. Responsible for overseeing the recording activity of the prestigious label, Fine produced many recordings with Anne-Sophie Mutter, Sir John Eliot Gardiner and Myung-Whun Chung, among others.

Fine also has given lectures, talks, and seminars about the music and recording business – from the Juilliard School and Hamburg Hochschule fur Musik, to the keynote address at the International Organisation of Music Competitions.

He is also a sought-after panelist for music industry congresses, including most recently IAMA (International Association of Music Administrators) and ABO (Association of British Orchestras).

Prior to joining DGG in 1997, he was Vice President & General Manager of KOCH International Classics, a label he launched in 1990 with the critically acclaimed world premiere recording of Leonard Bernstein’s Arias and Barcarolles. The international best seller won a GRAMMY Award and appeared on BILLBOARD’s crossover chart. Under Fine’s direction the label quickly developed a reputation as one of the most innovative in the world: as Fanfare Magazine put it: “the most consistently interesting label.”

Despite his busy schedule in Rotterdam and Seoul , Fine continues to produce recordings, and was recently again a Grammy nominee for Classical Producer of the Year. Recordings he has produced appear on labels including Deutsche Grammophon, Decca, SONY, Virgin Classics, EMI, BMG Classics, and Naxos, and have won virtually every major award in the recording industry, including numerous Grammys, Edison Prize, Deutsche Schallplatten (now known as the ECHO award), Grammophone Award, Diapason d’Or, and Australian Music Award among others.

In the past few years, Fine has produced many recordings with renowned artists and ensembles Myung Whun Chung, Valery Gergiev, Daniel Harding, Eliahu Inbal, Yannick Nezet-Seguin, Emmanuel Pahud, Renaud Capucon, Gautier Capucon, Sumi Jo, Nicholas Angelich, the Vienna Philharmonic Orchestra, London Symphony Orchestra, Czech Philharmonic, and the Quator Ebene among many others.

Recently, Michael began composing as well. The inspirations from his musical memories, his surroundings, and from everyday life, led to his first composition – Quartet Moments.

Fine’s output in the short time he has been composing already includes several orchestra scores and chamber music for several instruments.

GRAMMY Award winning Classical Producer of the Year (1992)

Also, he has multiple Platinum and Gold records to his credit, and has additionally been awarded prizes for his work for the Advancement of Women in Music, and was named Best Recording Producer by Classical Insites Global Classical Music Poll.

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Patrick van Deurzen

Patrick van Deurzen (1964) studied Classical Guitar from 1983-1989 with Dick Hoogeveen and Music Theory from 1987-1991 with Peter-Jan Wagemans and Jan Kleinbussink and Instrumentation from 1983-1987 with Klaas de Vries at the Rotterdam Conservatory of Music. Although he composed from an early age, van Deurzen considers his works from 2001 as his official output.

Patrick van Deurzen was active as guitarist, conductor, singer and wrote several articles on 20th century music. At this moment, he devotes his time to composition and teaches Music Theory, Instrumentation and Arranging at the Royal Conservatory of the Hague and the Rotterdam Conservatory of Music and has some private composition students.

– Wrote for the Aicart festival ‘Cantigas d’amor’ for tenor and piano (Performed in- and during Porto/Rotterdam cultural capital 2001).
– The Netherlands National Youth Choir performed ‘Eight Scenes from Alice’ during the World Choir Symposium in Japan 2005.
– The Schoenberg ensemble performed in 2006 ‘Six: a line is a dot that went for a walk‘.
– The DoelenKwartet performed in 2009 van Deurzen’s first stringquartet ‘Seven‘.
– The Latvian Radio Choir performed his ‘If I were God‘ for Choir, soloists, viola and cello a the fifth choir biennale in Haarlem 2009.
– 2010 – 11 a music-theatre piece ‘Turris Babel‘ for five female singers, stones, sticks and water is premiered by Wishful Singing at the Noorderkerk Amsterdam and toured through the Netherlands and Germany.
– In 2011 his works for solo clarinet and Bass clarinet were released on the double CD – Doubles, performed by the Spanish clarinetist Xocas Meijde.
– His orchestra-work ‘Tornado‘ (2011) was performed eight times with success in different Brazilian theaters; a.o. the Teatro National in Rio de Jainero and the MASP in Sao Paulo. Two years later the Novosibirsk Chamber Orchestra gave the Siberian premiere of ‘Tornado‘.
– In 2012 – 13 a 33 min. new work, ‘De Brief’, for Soprano & Theorbo was performed on sevral historic locations in The Netherlands by Leonore Engelbrecht and Elly van Munster. Van Deurzen wrote in 2013 also his first video-opera that was broadcasted on Dutch Television.
– New works for Marcel Worms (piano), Maarten van Veen (piano) and the New Morse Code (New York based cello/percussion duo) were premiered in 2014.

Won in 2002 the 2nd international competition for Choir-music in Belgium with ‘Deux poémes de Baudelaire’ for choir a-cappella (performed by the Flemish Radio Choir).

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Carlos Micháns

I am a Dutch composer born, raised and educated in Argentina”, is Carlos Micháns’ favourite answer when asked about his nationality. Born in Buenos Aires in 1950 into a family with roots in England, Scotland, Flanders, Cataluña, the French Basque provinces and even the USA, he moved to the Netherlands in 1982, later becoming a Dutch citizen.

In his native Argentina he studied piano, organ and later composition with Susana Oliveto and Roberto García Morillo, one of the country’s leading composers. He also graduated in conducting at the University of Buenos Aires and the Art Institute of the Teatro Colón, South America’s major opera house.

In 1982, he was awarded a scholarship from the Dutch Ministry of Culture and Science, which enabled him to do postgraduate studies in composition and electronic music with Hans Kox, Tristan Keuris and Ton Bruynèl at the conservatory of Utrecht, where he obtained the Composition Prize in 1988. A new grant from the Ministry of Culture allowed him to continue his training in electronic music for a year.

Other awards:
1977 – 1st Prize “Promociones Musicales” (Argentina), for ‘Tema, Toccata & Fuga for organ
1990 – 1st Prize of the city of Gerona (Spanje), for ‘Apparitions‘ for piano
1993 – “Trinac” (Tribuna Nacional de Compositores, Argentina), for ‘String Quartet Nr. 2
1996 – “Trimarg” (Tribuna Musical Argentina), for ‘Sinfonia Concertante Nr. 2
2000 – “Trinac”, for ‘Après Minuit‘ for ensemble
2006 – “Trinac”, for ‘Sinfonia Concertante Nr. 4
2008 – “Toonzetters”: selected among the ten best Dutch compositions of 2007, for ‘Concerto for Harp and Orchestra
2010 – “Salvatore Martirano Award” (Honorable Mention) of the University of Illinois at Urbana-Champaign, for ‘Trois Visions Tantriques‘ for harp and saxophone quartet
2010 – “C4-Commissioning Competition” (New Your, USA), for ‘Ave Maria – Pater Noster‘ for mixed choir a cappella.

In Buenos Aires he was active as a composer, music teacher and choir conductor.

Between 1995 and 2012, Carlos Micháns was in charge of “Podium Neerlandés”, a programme of Radio Nederland aimed at introducing Dutch concert life to Spanish speaking audiences around the world, mainly in Latin America.

Micháns is also active in the field of literature. He has written and published several works in Dutch, Spanish and English, which include novels, poetry, short stories and essays on history and art.

Since 1986, and thanks to financial support from Dutch and foreign funds, the Gaudeamus Foundation, music institutions and the Ministry of Foreign Affairs, Micháns has organized several international concert tours aimed at promoting Dutch musicians and contemporary music abroad.

He has also been invited to lecture on his music by universities and institutes for higher education in India, Indonesia, North, South and Central America (Argentina, Brazil, Costa Rica, El Salvador, Panamá) and Poland.

Also, along with concert tours he organized tournament for gambling on the playground online casino Cop17.

Micháns’ extensive catalogue includes works in almost every genre, among which five ‘sinfonie concertante’ for soloists and orchestra, two symphonic overtures, several compositions for choir and orchestra, a harp concerto, a saxophone concerto, quartets and quintets for a variety of combinations (strings, saxophones, clarinets and mixed ensembles), countless solo pieces and for small and large chamber groups.

Most of them are commissioned by the Dutch Fund for Performing Arts for distinguished Dutch and international soloists and ensembles, such as Ronald Brautigam, Isabelle van Keulen, Liza and Dmitry Ferschtman, Arno Bornkamp, Lavinia Meijer, Rotterdam Philharmonic Orchestra, Radio Chamber Orchestra, Holland Symfonia and many others. They are published in Hilversum (Holland) by Donemus.

Micháns about modernity in his work: “Modernity is in the ears of the listeners, and their concept of it will vary, develop and change according to their experience and ability to understand what they hear. As for my own music, I do believe it to be contemporary and to reflect some aspects of our time more strongly than others, our time meaning not just this very instant but the last few decades and even further. After all, we haven’t spent more than a thousand years creating and developing techniques, inventing and perfecting instruments in order to stick to the latest ones and discard the rest as obsolete.

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Nimrod Borenstein

 “A very talented composer.” Vladimir Ashkenazy, pianist and conductor

“His music, simple and yet very complex at the same time, brings great pleasure and enrichment both to performers and listeners. It takes life ‘between the notes’.” Roberto Prosseda, pianist

With five world premieres, scores of performances of his ‘juggling ballet’ around the world and multiple recordings of his music – and all of this just in 2016 – British-French-Israeli composer Nimrod Borenstein is much in demand. Leading artists and orchestras who champion his work include Vladimir Ashkenazy, the Philharmonia Orchestra, Roberto Prosseda, Dmitry Sitkovetsky, the Oxford Philharmonic and many others. 2017 promises to be a banner year with the release on the Chandos label of a major album conducted by Ashkenazy, entirely devoted to Borenstein’s music.

The son of a renowned artist, Nimrod’s first musical experience came as a child on holiday in France, when on a family walk through a forest they came across an outdoors concert. “I just stopped and refused to move until the concert was finished two hours later. And I told my parents then and there that I wanted to learn violin and be a musician.” recalls Borenstein.

A love affair with music started, with the young Borenstein challenging himself by listening to classical works on the radio, then turning the sound down halfway through and himself scoring the way he felt the next 30 seconds would continue (he was often more or less correct)! Aged eight he developed a twelve-tone system. “I was very pleased with myself, until someone told me that someone called Schoenberg had got there first,” laughs Borenstein.

He won the competition of the Fondation Cziffra aged 15, having asked his teacher if he might apply and being told it was for adult musicians. He applied anyway, secretly, and among his audition works was Mozart’s Third Violin Concerto – György Cziffra stopped him midway through, saying how much he loved the cadenza and asking who’d written it. Borenstein replied that it was his own composition, and the impressed Cziffra gave him the prize.

It was as a violinist that Borenstein attended the Royal College of Music in London, but later won the Leverhulme Fellowship for composition at the Royal Academy of Music (where he is now an Associate). His path was set.

Every composer needs leading artists to perform their music. One of the most important for Borenstein has been Vladimir Ashkenazy, who took an interest in his music early on. A first opportunity to work together arose when the philanthropist Zvi Meitar commissioned a work for his 75th birthday, The Big Bang And Creation Of The Universe. The work was premiered with the Oxford Philomusica (now Philharmonic) under Marios Papadopoulos, after which Ashkenazy conducted it with the Philharmonia. This was quickly followed by a Philharmonia premiere, again with Ashkenazy, If You Will It It Is No Dream. The collaboration has continued, culminating in 2017 with the release of Ashkenazy’s album of Borenstein’s music on Chandos (to include both those works, as well as the Violin Concerto).

Borenstein’s music continued to rise in popularity, with his Shell Adagio in particular proving a success with more than 30 performances by 16 orchestras to date. In 2015 another benchmark success occurred with the premiere at the Royal Opera House, Covent Garden of the Gandini Juggling Troupe’s all-juggling ballet, Ephemeral Architectures 4 X 4, set to Borenstein’s specially-commissioned score, Suspended. A huge international success, the ballet has since had more than 100 performances (from the Edinburgh International Festival to the Taipei Arts Festival) and continues to tour the world.

Following that premiere, a full-orchestra recording of Suspended launched the Berlin-based Solaire label. Among the excellent reviews, The Arts Desk wrote, “Borenstein’s transparent, athletic strig writing is stunningly realised…the glorious third section, a dizzying blend of pastiche baroque ornamentation and glorious, singing lines…Borenstein’s sense of fun is infectious, the music moving effortlessly from sultry tango to breezy serenade…”.

Borenstein has shown particular focus in recent years on concertos. His Violin Concerto was premiered by Sitkovetsky in 2014, the year after his Cello Concerto. His Saxophone Concerto, commissioned by the distinguished woodwind manufacturer Buffet Crampon for the saxophonist Michel Supera, was premiered in 2016 by the Orchestre de la Garde républicaine conducted by François Boulanger. The same year saw his Concerto for Trumpet, Piano and String Orchestra premiered in the UK with the English Symphony Orchestra conducted by Kenneth Woods, with Simon Desbruslais and Clare Hammond as soloists. A guitar concerto for Costanza Savarese has been completed and Borenstein is writing on a second cello concerto, for the cellist Corinne Morris.

An ongoing “Songs Without Words” project, written for a variety of pianists, recently launched with Robert Prosseda playing Borenstein’s The Dream in Athens. Future plans include recordings, as well as the Ashkenazy / Chandos disc, of the Concerto for Trumpet, Piano and String Orchestra (Signum), of the Cello Concerto No. 2, piano works played by Nadav Hertzka (Skarbo) and more.

Borenstein’s credo? “You have to strive for originality. It cannot be great if it isn’t new. The art has to be personal and to be personal it has to be new. But newness by itself is not enough. You have to try for greatness. Of course you might not achieve it, but it is always the right thing to try. That is the compulsion of the composer.”

Picture: Nataliya Gorbovskaya, 2017

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Hans Koolmees

Hans Koolmees was born on the 27th of October 1959 in Abcoude, Holland.

At the conservatory of Rotterdam, Koolmees studied composition with Klaas de Vries, organ with Jet Dubbeldam, arranging and conducting with Bernard van Beurden, and electronic music with Gilius van Bergeijk.

Koolmees is of the Rotterdam School of composition. “The composition department here is strongly influenced by Klaas de Vries and Peter-Jan Wagemans, for whom intuition is the guiding thread in composition.

He works as a composer, as a teacher in composition and instrumentation, and as an organist.

Between 2003 and 2008, Hans was the artistic director of the DoelenEnsemble. In 2009 and 2010 he was artist-in-residence in the Van Doesburghuis in Meudon, near Paris.

Koolmees tries to strike a balance between detachment and sentiment – something he admires in the music of Igor Stravinsky – and leaves room in his work for irony, for the grotesque and the over the top. Regarding the content of his music, he says: “Ultimately, the sole subject of music is time – not human misery or some such thing. The passage of time, all human misery lies concealed in it.

His compositions have been performed by Oliver Knussen, Jurjen Hempel, Daniel Reuss, Ellen Corver, Lucas Vis, The Hague Philharmonic Orchestra, The Rotterdam Philharmonic Orchestra, Netherlands Philharmonic Orchestra, the Netherlands Ballet Orchestra, Cappella Amsterdam, Brisk, the Schönberg Ensemble, the DoelenEnsemble and Calefax reed quintet.

Theater Lantaren/Venster organized a four-day festival of Koolmees’ music in 1999. Along with earlier pieces came the premieres of three new works, including ‘De Toren van Babel’ [The Tower of Babel, 1998].

In 2005, the Netherlands Philharmonic Orchestra performed ‘As Time goes by‘ (2004), a symphonic scherzo which takes as its motto a short poem by Jules Deelder: “Alles blijft/ Alles gaat voorbij/ Alles blijft voorbijgaan” [Everything continues/ Everything passes by/ Everything continues passing by]. Koolmees says of the piece: “My initial idea was that I wanted to make the passage of time palpable, which the poem does with great concision. There is linear time, in which things develop, and there is circular time, which is based on repetition. I attempt to unite the two in this piece.

On 16 April 2009, the first performance of Koolmees’ opera ‘De Waterman‘ took place in Dordrecht.

His composition ‘Cantate’ for large orchestra was awarded the first prize of the composer’s composition organized by The Hague Philharmonic Orchestra on the occasion of its ninetieth anniversary in 1994.



Man with woman walked through meadow, said: so neatly mowed this land is.

Woman however, contrariwise, spoke: mowed is it not, but trimmed, man most
adamant; now said man that mowed and woman said trimmed.

Man, incensed, threw woman in water.

Now being in water and unable to speak, thrust she her hand above water, making
gesture with fingers of scissors, indicating that it was trimmed.

Grote Spiegel (Velicoe Zercale), Russia 1766

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Elmer Schönberger

Elmer Schönberger was born in Utrecht on January 1, 1950.

“Writer, composer, musicologist” is the most concise biographical summary Elmer Schönberger is inclined to assign himself, although the order has the habit of changing.

Schönberger studied piano at the Royal Conservatory in The Hague, with Jan de Man and Gérard van Blerk and musicology at the University in Utrecht. He graduated with theses on Stravinsky and on interdisciplinary aspects of musicology.

He continued studying composition privately with Escher and after his death sat on the Escher Committee, devoted to the promotion of his music. In 1985, he co-published an edition of Escher’s Debussy lectures (Debussy. Actueel verleden).

From 1982, he wrote the column “Het Gebroken Oor” for Vrij Nederland. In that period he also contributed to a wide range of books and journals, including Key Notes – Musical Life in the Netherlands, where he served as editor and, later, editor-in-chief from 1975-1987.

In “Histoire d’Oor” (1993) – an essay in book form about his career as professional listener – he portrays the Utrecht Institute for Musicology in the period 1968-1974 as a world mired in the middle ages.

His longstanding love affair with the music of Stravinsky resulted in “Het apollinisch uurwerk. Over Stravinsky” (1983, together with Louis Andriessen), which Richard Taruskin described as “the one book about Stravinsky Stravinsky would have liked.” The English translation appeared in 1989 and the Russian version in 2003.

Until the mid-1990s the focus of Schönberger’s work lay primarily in musicography, alternately combined with activities such as conservatory lecturer, programmer at the Holland Festival (he introduced the Russian composers Gubaidulina and Ustvolskaya to Dutch audiences) and – until the present day – advisor to the Schoenberg Ensemble. For this ensemble he made an adaptation of Darius Milhaud “Saudades do Brazil” (1921/1990).

Schönberger made his literary debut in 2003 with the novel “Vic, met name”. “Vuursteens vleugels” (2009), his second novel, is, like his composition ‘Dovemansoren’, a spinoff on his play ‘Dovemansoren’.

On recommendation of Herman Strategier, his theory teacher, he composed his first “official” composition ‘Chasse à l’enfant’ (1971), for the International Choir Festival.

As a composer Schönberger has manifested himself primarily in the theatre (the music theatre work ‘Verhuisbericht’ in 1983, incidental stage music), until he returned to the concert hall in 1997 with ‘En nergens Bach’. A lifelong love of the theatre and for just the right word inspired him to write a number of plays, including ‘Kwartetten’ (1999), about a string quartet and played by four actors and a string quartet.

His most recent works include:

  • Caliban Sings‘ (Three Songs from William Shakespeare’s The Tempest) for mezzo-soprano and ensemble;
  • Tempo impetuoso d’estate sull’ esempio di Vivaldi‘: for ensemble;
  • Solemn and Strange Music‘: for ensemble;
  • Nobodyes Gigge‘: for ensemble.

In 1990 he was awarded the Pierre Bayle Prize for music criticism.

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Olga Victorova

Olga Victorova was born on September 22, 1960 in Ukraine.

She is a graduate of the Kharkiv School of Music for gifted children. She graduated from the St.-Petersburg Conservatory and completed post-graduate course led by Boris Arapov.

Since 1996 she is a member of The Composers’ Union of Russia. From 1995 to 2016 she taught composition, history and theory of music at the The Ural State Conservatory, the Liberal Arts University and at the Sverdlovsk Tchaikovsky Music College.

Olga Victorova established the New Music Ensemble of Sverdlovsk Philharmonic Society. In 2000 she authored the “XXI” subscription series at this concert organization, which was presenting contemporary music. For many years Olga has been coordinating projects which combined sound, visual art and emerging technology. Her music, composed for chamber and symphonic orchestras, has been performed in Russia and beyond, in countries such as Belgium, Canada, France, Germany, Italy, Latvia, Luxembourg, Netherlands, Spain, Japan.

She is a regular guest at various festivals: the Festival of Radio France, Musique de Notre temps (France), La Folle Journée, Centara Corporation International New Music Festival (Canada), European dance and music open air festival (Luxembourg), The Moscow Autumn, The International Gaudeamus Music Week, Russia Femina (The Netherlands), Week-end contemporain (Brussels), Transsiberian Arts Festival, International Music Festival Eurasia (Russia), Yuri Bashmet Festival (Republic of Belarus) and others.

Olga Victorova collaborated with conductors and soloists such as Andrey Boreyko, Dmitry Liss, Andrey Petrenko, René Gulikers, Enkbaatar Baatarzhavyn, Alexey Dorkin, Alexander Buzlov, Alisa Margulis, Henry Demarkett, Alexander Zagorinsky, Igor Fiodorov, Valentin Pravosud, Veronica Lemishenko, Eija Kankaanranta, Pilar Valero and many others.

Victorova’s compositions were written for choirs, orchestras and ensembles such as the Orchestra and Choir of Mariinsky Theater, the Ural Academic Philharmonic Orchestra, the Winnipeg Symphony Orchestra, Orchestre National de Lille, Ural Youth Symphony Orchestra, Kharkiv Philharmonic Academic Symphony Orchestra of Ukraine, Harbin Symphony Orchestra, L’Orchestre Symphonique de l’Opéra de Toulon, Le Choer de Chambre Arthémys, Chamber Choir of St. Clement, Le Choer de Femmes “Pour Raison de Begute”, ensembles MCME, Phoenix, Studio for New Music, Ensemble’88.

Some recent titles are: ‘Qinglong – Azure Dragon’ for large orchestra, ‘Magic Birds Phung Hoang’ for violin (2013), ‘Macho’ for flute, clarinet, violin, cello and piano (2014), ‘Sancta Maria’ for cello and choir (2014), ‘David’s River’ — mono-opera for baritone, four flutes, percussion and electronics (2015),‘Oj, vo pole’ — six Russian songs for soloists, children or women choir and orchestra (2016), ‘Stars Changing their Brilliance’ — concert fantasy for clarinet, arpa and string orchestra (2016), ‘Harbin’ Overture for large orchestra (2016), ‘Angels Dance’ for large orchestra, ‘Fire Rooster Blues’ for violin and cello (2017).

Winner of the European Composer Award (Berlin, 2012). Diploma winner at the All-Union Competition of young composers (Moscow, 1984). Laureate of All-Ukrainian Competition of young composers (Kyiv, 1976). Winner of the Sverdlovsk Regional Governor’s Award “For Outstanding Achievements in Literature and Art”.

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Reinbert de Leeuw

Reinbert de Leeuw was born on January 17, 1938 in Amsterdam.

He studied piano and music theory at the Amsterdam Conservatoire and composition with Kees van Baaren at the Royal Conservatory of The Hague.

In 1974, Reinbert founded the Schönberg Ensemble, which got a great reputation since performing the complete chamber works of Arnold Schönberg, Anton Webern and Alban Berg.

He is a regular guest conductor in France, Germany, England, Belgium, the United States (Tanglewood Festival, New World Symphony, Los Angeles Philharmonic, Lincoln Center Chamber Music Group New York, Aspen, and the St. Paul Chamber Orchestra; he also lectures at the Juilliard School of Music in New York), Japan, and Australia, where he served as artistic advisor for the contemporary music series of the Sydney Symphony Orchestra from 2000 to 2004.

Reinbert de Leeuw has been co-founder and from 2001-2010 artistic director of the Summer Academy, the international orchestra and ensemble academy of the National Youth Orchestra in The Netherlands. He was the guest artistic director of the Aldeburgh Festival (Suffolk) in 1992 and of the Tanglewood Festival (USA) from 1994 to 1998.

Also, Reinbert is author of a book on Charles Ives and a book with musical essays, and he has collaborated on eight film documentary series of 20th-century composers, such as Messiaen, Ligeti, Gubaidulina, Vivier, and Górecki. The series have been shown on Dutch television and won international acclaim.

Since 2004 he is a professor at the Leiden University in “performing and creative arts of the 19th, 20th and 21st century”.

Together with Louis Andriessen, Misha Mengelberg, Peter Schat, Jan van Vlijmen, Hugo Claus en Harry Mulisch, Reinbert de Leeuw composed the opera ‘Reconstructie’, which was performed during the Holland Festival 1969.

Reinbert de Leeuw has been involved in various other opera productions, at the Netherlands Opera in Amsterdam. Together with Jan van Vlijmen, he composed the opera ‘Axel’ in 1977.

Besides chamber music, he also composed, for example, ‘Hymns and Chorals‘ for wind ensemble, electric guitars and electronic organ (1970) and ‘Abschied, symphonische Dichtung für grosses Orchester‘ (1973).

Reinbert de Leeuw has received the Sikkens Award (1991), due to the way in which he uses color in non-visual expressions. A year later, he received the prestigious 3M prize (1992).

In March 1994, Reinbert was made Honorary Doctor at the University of Utrecht for his work as pianist and conductor of the Schönberg Ensemble. His recordings as a pianist have won many prizes, including the Dutch Edison, the Premio della critica discografica Italiana, the Grand Prix of the Hungarian Liszt Society and the Diapason D’Or.

For his services and importance to music and culture in The Netherlands, Reinbert has been knighted in the Order of the Dutch Lion, on September 8, 2008.

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Luc van Hove

Luc van Hove was born in 1957, in Wilrijk (Belgium).

Luc van Hove studied composition with Willem Kersters, analysis with August Verbesselt, piano with Lode Backx and music history with Kamiel Cooremans, at the Royal Conservatoire of Antwerp (Belgium). He also attended a conducting course in Mozarteum in Salzburg (Austria) and composition and choreography courses at the University of Surrey in Guildford (United Kingdom).

Luc van Hove is a teacher in composition and analysis at the Luca, School of Arts, campus Lemmens Institute Leuven, and at the Royal Conservertoire of Antwerp, department of the Artesis Plantijn Hogeschool. He is a member of the Royal Flemish Academy of Belgium for Science and the Arts. In 2011, Luc was head of the Class of Arts.

He is a former outstanding professor at the Queen Elisabeth Music Chapel and a former member of the artistic committee of the Orpheus Institute. In 2003, Luc was the curator of the Music@venture, organized by the Flanders Festival Antwerp.

Luc works are commisioned by important organisators and performers, including The Netherlands Philharmonic Orchestra, the Flemish Radio Orchestra (current Brussels Philharmonic Orchestra), the Brussels Philharmonic Society, the International Arts Centre deSingel, the festival November Music in the Netherlands, Antwerp 93 European Capital of Culture, I Fiamminghi, the Beethoven Academy, Roel Dieltiens and his ensemble Explorations, the Opéra Royal de Wallonie.

He was composer-in-residence at the Flanders Festival International.

His works have been performed by renowned international ensembles and artists: the Rotterdam Philharmonic Orchestra, the Brodsky Quartet, the Arditti Quartet, the Xenakis Ensemble, cellist Pieter Wispelwey, the Asko / Schönberg Ensemble, the Cappella Amsterdam.

Lucs compositions have been played at the Midem Festival in Cannes, during the promenade concerts in De Doelen in Rotterdam, the Ars Musica Festival in Brussels and the Festival November Music.

He was guest composer of the Week of Contemporary Music in Ghent and central composer for the festival I Fiamminghi Campo 1997.

Some of his major works include:
– ‘Carnaval op het strand opus 17’ for orchestra;
– ‘Symfonie 1 opus 25’;
– ‘Stacked time opus 26’ for electric guitar and orchestra;
– ‘Triptiek opus 29’ for oboe and orchestra;
– ‘Strijkkwartet opus 30’;
– ‘Pianoconcerto 1 opus 32’;
– ‘Strings opus 33’ for string orchestra;
– ‘Symfonie 2 opus 34’;
– ‘Kammerkonzert cello and ensemble opus 36’;
– ‘Symfonie 3 opus 39’;
– ‘La Strada’, opera in 2 parts, to the movie by Federico Fellini;
– ‘Pianoconcerto 2 opus 48’;
– ‘Cantico di Frate Sole opus 51’ for choir and cello solo.

Luc van Hove is the winner of various compositions awards, such as the Annie Rutzky Prize, the Belgian Artistic Promotion Sabam Prize, the A. Vleeshouwer Prize and the Sabam Prize Serious Music in 1993.

TV2 (current Canvas) dedicated a portrait in the series Diapason to Luc van Hove.

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Katarina Glowicka

Katarzyna Glowicka was born in 1978 in Poland.

Glowicka studied composition at the Wroclaw Academy of Music in Poland and graduated with honors in 2001 under her mentor Grazyna Pstrokonska-Nawratil. Afterwards, she pursued postgraduate studies at the Royal Conservatory in The Hague under Louis Andriessen, and at the Strasbourg Conservatory under Ivan Fedele. In 2008 she received a doctorate degree (PhD) at Queen’s University of Belfast.

At the beginning of her musical career, while a first year student, her orchestral composition Gindry, won a prestigious orchestral national competition “Adam Didur”. Since then, her works have been awarded prizes at many competitions, including The Genesis Prize for the Opera in London, Holland Symphony Competition or Musica Sacra ‘or the International Competition of Electronic Music’ BMW Crash!” in 2006. In 2007, the composition Opalescence was in the final of the prestigious Bourges Competition in France and in 2009 Turbulence was in the final of the International Competition for Live-Electronics Music Projects organised by ECPNM.

In 2008 she settled permanently in the Netherlands, where she composes and performs contemporary music. She is a lecturer in electronic music and composition at the Royal Conservatory in Brussels. She is also the co-founder of the foundation ARTEK (www.artekholland.org) that supports multimedia activities.

Katarina Glowicka’s music explores the stylistic points of a possible junctions between classical, ambient, folk and minimalism. Her projects cover a wide range of musical activities. Dubbed “the next star from the East” (“Junge Welt”), she came into the international spotlight with album “Red Sun” (Bolt Records, 2014).

Katarina Glowicka’s artistic output embraces musical media of every kind, as she collaborates with with leading artists, both classical and avant-garde, among others with French turntablist Philppe Petit. She collaborates with stage directors, choreographers, visual artists, musicians and conductors on original works for opera, dance and symphonic orchestra. What makes the music of Katarina Głowicka special is the feeling of space and often haunting, melodic qualities. Her music has been described as complex, yet approachable.

Her works are distinguishable by the power of expression and colour. They have been premiered by renowned international ensembles and soloists such as Scottish Ensemble, Ensemble Recherche, Holland Symfonia, the Vocal Lab, European Contemporary Orchestra, British countertenor Jonathan Peter Kenny and saxophonist Ties Mellema, among many others. The chamber piece ‘Microgalaxies’ was commissioned and performed at the Wien Modern festival in Austria while other compositions have been performed in the Americas, Europe and Australia, during renowned festivals such as the Biennale di Venezia, Warsaw Autumn, De Suite at IJsbreker, Musica Electronica Nova in Wroclaw, Suite Amsterdam, Yo! Utrecht, Wien Modern in Vienna, Steve Reich Festival in The Hague, International Women in New Music Festival in California, the International Computer Music Conference in Barcelona, ISCM World Music Days in Gothenburg, 2006 Festival in Santiago de Chile, Gaudeamus Music Week and World New Music Days. In May 2015 the Warsaw National Opera staged a critically acclaimed opera Głowicki, “Requiem for Icons” under the “Project P”. Recent projects include the Opera for the Unknown Woman for Fuel Theater in London, and orders for the Warsaw team Kwadrofonik and the Belgian opera De Munt.

Autumn Concerto for alto saxophone and orchestra was chosen in April 2004 for the Young Composers Project and performed by Holland Symphonia.

Newest engagements are among others commissions for Warsaw National Theatre (2015) opera based on life of Jacqueline Kennedy Onassis, Fuel Theatre in London for work with Melanie Wilson (2016) and new work for Rogier Sapiro Found, New York (2017). Her newest CD, “Seven Sonnets” (Bolt records, ARTEk Sounds, DUX) appeared in January 2015.

Katarina Glowicka has received several grants and awards by the Ministry of Education, the European Commission, the Polish Society of Contemporary Music and Musica Sacra Competition, among others.

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