Sander Germanus

Artistic vision

Sander Germanus has a unique vision of music. Hallucinatory and disorienting harmonic progressions play an essential role in his world of sound. The expectations of the listener can be optimally put to the test by the dizzy fluctuations of his ‘dualistic tuning’ that he has developed. Within this strange but consonant musical context the hearer can also be put on the wrong track by means of contrary rhythms. With these unexpected but pleasurable dizzying sounds he is searching for a kind of intellectual entertainment that should make all intoxicants unnecessary. That’s why his motto is: “You don’t need drugs, just listen to my music!”
The composer explains: “From all the hallucinatory stimulants, the ones which enter the human body through the ear will cause the most beautiful alienating experiences, in my opinion. The way listeners can get pleasantly disoriented, just by playing with their musical expectations, fascinates me. These expectations, which are not given by nature but created by men and culture, are hammered into the brains of most people by endless repetition of the same tonal chord progressions in music. I like to play with this fact in an inventive and original way. The question to what extent these expectations can be changed in the mind of the average listener, so new musical perspectives could be accepted, intrigues me. Thereby also raises the interesting question whether new and unknown tonal functions and chord progressions, which are in a different way as logical as those that we know, will confuse the audience or will be adopted by them. My belief is that these listeners will be delightfully overwhelmed.”


Sander Germanus started composing music with microtones in 1996, based on his first microtonal experiment from 1992, in which he tried to let microtones sound beautiful. But it was not earlier than 1999 that he wrote a complete microtonal composition; his orchestral work Continental. After this year, almost all his works were composed in his ‘dualistic tuning’, using microtones. Since his composition Lunapark (2005-2006), which he wrote for the DoelenEnsemble and Calefax Reed Quintet, this dualistic tuning theory came together with his other inventions in terms of tempo and rhythm. Movement modulations, tempo circles, microtonal voice leading, tempo averages, stumbling rhythms; all these finds lead to a kind of ‘music thermic’, where the turbulence of the air, as it were, can be felt in his music. Without leaving these artistic principles, his music has recently evolved into various musical styles beyond contemporary classical music, after deciding to set up his own music group. With this group and its converted music instruments, he started a newand important phase in his musical work. 
Sander Germanus composed music for several ensembles, among others the Netherlands Radio Chamber Philharmonic, Calefax Reed Quintet, Asko|Schönberg, Musikfabrik, Amstel Quartet, Il Solisti del Vento, Nieuw Ensemble, Quatuor Danel, DoelenEnsemble, Studio for New Music Ensemble Moscow, Residentie Orchestra, Percussion The Hague, Aurelia Saxophone Quartet and the North Holland Philharmonic Orchestra. He received commissions from several concert series and festivals, such as the ZaterdagMatinee at the Concertgebouw in Amsterdam and the Festival of Flanders in Antwerp. His music has been performed in various countries and has been broadcasted by radio and television. His composition for piano Beetje Precies (Bit Precise) and his Capriccio voor genoeg vioolsnaren (Capriccio for enough violin strings) for violin were both recorded on CD. In 2011 the Etcetera label has released a CD, named Lunapark, with an overview of his microtonal chamber work, which was rated 10 stars in the renowned magazine for classical music ‘Listen’.


Sander Germanus (Amsterdam, 1972) studied classical saxophone from 1988 until 1995 with Ed Bogaard at the Conservatory of Amsterdam, where he finished his studies as a soloist with the highest grades and a distinction for artistic qualities. He began his music composition lessons with Peter-Jan Wagemans as his composition teacher and Klaas de Vries as his orchestration teacher in 1992 at the Conservatory of Rotterdam, where he finished his composition studies with honors in 1998. During 1994-1995 he also studied with Luc Van Hove at the Royal Flemish Music Conservatory in Antwerp. At the invitation of De Nederlandse Opera (Dutch National Opera & Ballet) he attended a master class of Pierre Boulez in 1995. He was admitted to the Orpheus Institute in Ghent in 1999, where he obtained his laureate diploma with his thesis on microtonal music in the spring of 2005. At this institute he joined several residential seminaries from Helmut Lachenmann, Jonathan Harvey, Jan van Vlijmen, Dick Raaijmakers among others.
In 1998 he won an incentive prize from the City of Amsterdam for his composition Adamsarchipel. And in 2000 he was nominated for the NPS Culture Prize on television for his quarter-tone orchestral work Continental and reached the final with a second place. During the season 2001/2002 he was offered a stipend at the Internationales Künstlerhaus Villa Concordia in Bamberg, where he stayed for more than half a year to compose and to give lectures.
Since 2007 he is the artistic director of the Huygens-Fokker Foundation, centre for microtonal music in Amsterdam. Between 2010 and 2014, he was also a lecturer in contemporary art music at the master academy of the Lemmens Institute in Leuven (LUCA School of Arts).

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.


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.


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.


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.

Ig Henneman

She is a composer/performer and bandleader in the international world of Creative Music. Self-taught composer Ig Henneman received some years of coaching by Dutch composer Robert Heppener.

Henneman is a musician of striking individuality who is acknowledged internationally as a composer/performer and bandleader. Henneman has written for orchestras, big bands, ensembles, various solo pieces, and numerous pieces for her own improvising groups. She has also composed soundtracks for film and theater. As a composer/improviser on viola she toured extensively over the world and received abundant praise for the musicianship as well as the innovative compositions.
Henneman played in several symphony orchestras before co-founding the legendary rockband FC Gerania in 1977, which performed her first compositions. One of her early works is the soundtrack to the 1927 silent movie Baby Ryazanskye by Olga Preobrazhenskaya.
Grants and commissions were given her by the Fonds voor de Scheppende Toonkunst, the Amsterdams Fonds voor de Kunst, the Dutch Ministry of Culture, the Fonds voor de Amateurkunst en de Podiumkunsten, Performing Arts Fund NL, Bas Klarinet Festijn 2016.

Since the nineties the music of the Russian composers Galina Ustvolskaya en Sofia Gubaidulina has been an inspiration for Henneman, who is attracted by the extremes of the former’s structural severity and the latter’s improvisational freedom, also to be found in the work of the Hungarian composer György Kurtág. However, her influences are wide ranging and include jazz and pop music as well.

(…) The music Henneman creates is indescribable. Contrary, dissonant, always changing shape. (…) It’s music without a home.  (…) you hear how imagination works. Something lodges in your brain like a germ cell – Schubert, Ustvolskaya, a sound, a rhythm – and haunts you until it flows out in an uncontrolled zigzag movement, jerking and bumpy; or on a fast ride, interrupted on the way or thrown off course by the counter forces of yet other objets trouvés that have developed their own dynamic in the stream of consciousness. A journey like that yields a pseudo anarchic genesis, avoiding discipline and without destination, full of side paths among which the free spirit can always see an exit. This is music of resistance and you hear what resonates in it: contrariness, curiosity, a healthy avant-garde mentality that, against all current notions of beauty, also just happens to soothe the soul. (Bas van Putten)

Her compositions have been widely played by, amongst others, Ivo Janssen, Godelieve Schrama, Diamanda la Berge Dramm, Erica Dicker (USA), Elisabeth Smalt, Dana Jessen (USA), Marjanne Kweksilber, the Residentie Orchestra, Metropole Orchestra, David Kweksilber Big Band, Instabile Orchestra (IT), the Nieuw Ensemble and by her own improvising groups. The compositions for her improvising groups are documented in Henneman’s own management and record label Wig.

As a composer, she usually works closely with the performers to bridge the gap between composition and performance as far as possible.
Photo © Francesca Patella

Roland Kuit

From his childhood, Roland Kuit has always been fascinated by the phenomenon of sound. Surrounded with instruments like a grand piano, violins, double bass, trombone and guitars, he started to experiment with these sounds and the tape recorder. He was 6 years old at that time. This early playground formed a conceptual brain scheme for the rest of his life: sound-experiment, experiment-sound.

At early age he started to play the flute and was accepted at the Royal Conservatory, The Hague continuing his sound research in extended flute techniques. Here he met the music of Karlheinz Stockhausen, Luigi Nono, Berio, Dick Raaijmakers and other composers in electronic music. Experiencing limitations in acoustic music, Roland bought his first synthesizer. The ARP 2600.

At that moment Roland made a decisive step in his career by subscribing at the prestigious Institute of Sonology in the Netherlands, one of longest-running research and production hubs on the European electroacoustic music scene. It was at the end of formalism, serial music and new ways in sound creation and composition had to be explored. Under the influence of director Gottfried Michael Koenig this post-formal framework was opened for experiment. Roland studied analogue and digital sound science. Synthesis- and studio techniques next to composition.

At the IRCAM in Paris, Roland experienced new ways in acoustic composition and research of physical modelling in spectral music. Earlier he had accomplished a virtual string quartet with use of analogue synthesis. Analogue synthesized sounds have something alive in the sound due behavior of the apparatus. Sounds created by digital means seemed to be a kind of static so Roland used his knowledge to apply his techniques in the digital realm. His morphing between different techniques and shaping of algorithms became Roland’s signature. His output spans composition through sound art, sound-architectural installations, collaboration with experimental artists, designers and scientists, acousmatic performance and live electroacoustic improvisation.

Research, imagination and association in a technical way made him write his books about combining synthesis techniques. Lecturing at diverse universities and creating radio programs about electronic music giving him a platform to discuss his conceptual worlds.
He performs on concert stages and in art galleries and museums. His books and music are published by Donemus, Publishing House of Dutch Contemporary Classical Music.

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Vladimir Rannev

Artist Statement
Music composing is for me an absolutely reflexive activity. It is the sound representation of my personal resonance with the surrounding social environment, memory of culture and experience of introspection. The formation of my compositional technique has been influenced by classical music education, years of playing in a rock band and projects with contemporary artists. Now I see no contradiction between these “schools”, on the contrary, this crossover experience has made me free from the domination of one of them. Rock-n-roll and visual art scene has helped me in more reactive attitude to life and academic education – in creativity in form, structural thinking and sound searching (extended instrumental and vocal techniques).

Vladimir Rannev was born in Moscow, USSR, 1970, and has been living since 1998 in Saint-Petersburg (Russia).

In 2003, he graduated from the composition department of the St. Petersburg Conservatory, where he studied with Professor Boris Tishchenko. From 2003 to 2005, he studied electronic music at the Hochschule für Musik in Cologne with Professor Hans Ulrich Humpert.

Rannev writes acoustic and electroacoustic music, which has been performed in Germany, Austria, Switzerland, the UK, Finland, Japan and the USA by various ensembles, including the Orchestra of the St. Petersburg Conservatory Opera and Ballet Theatre, the Russian State Academic Symphony Orchestra, eNsemble, Studio of New Music, Moscow Contemporary Music Ensemble, vocal ensemble N’Caged (Russia), ensemble Nostri Temporis (Ukrain), Orkest de Volharding, Amstel Quartet (The Netherlands), ensembles Mosaik, Les Eclats du Son, Integrales, LUX:NM, Clair-obscur, El Perro Andaluz, choirs Singakademie Oberhausen and Cuntus Domus (Germany), Ums’Jip, KontraTrio, Ensemble Phönix Basel, Ensemble Proton Bern (Switzerland), ensemble NAMES (Austria).

Rannev works also in theatre, where he took part in numerous staging projects in several theaters, such as Alexandrinski Theatre (St. Petersburg) and the Theatre Hebbel am Ufer (Berlin). Rannev works also as a lecturer at the St. Petersburg State Rimsky-Korsakov Conservatory and the St. Petersburg State University. He is a member of the StRes (Structure Resistance) group of composers (Russia).

Rannev is a recipient of a Gartow Stiftung scholarship (Germany, 2002), the winner of the Salvatore Martirano Award of the University Illinois (USA, 2009), Gianni Bergamo Classic Music Award (Switzerland, 2010). His opera ‘Two acts’ to a libretto by Dmitri A. Prigov was premiered in the Hermitage Museum in November 2012 (with Ensemble Mosaik and conductor Enno Poppe) and took the Grand-Prix of Sergey Kouryohin Prize 2013. The opera ‘Drillalians’ was nominated for the National Theatre Golden Mask Prix 2016.

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Theo Loevendie

Theo Loevendie was born on September 17th, 1930 in Amsterdam.

He studied composition and clarinet at the Amsterdam Conservatory.

Up to 1968 he dedicated himself almost exclusively to jazz and he performed with his own ensemble at the main European jazz festivals: Montreux, Juan-les-Pins, Nîmes, Warsaw, Molde (Norway) and Laren (Holland).

From 1970 to 1988, Loevendie has been a professor of composition at the Rotterdam Conservatory of Music, from 1988 to 1997 at the Royal Conservatory of Music in The Hague and since 1995 at the Sweelinck Conservatory of Music in Amsterdam. He was central composer at many festivals and he has given master classes all over the world.

In 1968, Loevendie began to focus on the composing of concert music. His compositions are frequently performed both at regular concerts and at festivals all over the world.

Loevendie has composed four operas: ‘Naima‘ (1985), which was premiered at the 1985 Holland Festival in Amsterdam, the chamber opera ‘Gassir, the Hero’ (1990), premiered May 1991 in Boston (U.S.A.), ‘Esmée’, which was first performed in Amsterdam at the Holland Festival 1995 and in Berlin (1995) and had a staging again in 1997 at Bielefeld, Germany, and the chamber opera ‘Johnny & Jones’, performed at the Holland Festival 2001 and in 2003 in Dresden (Germany).

Among his orchestral compositions are a ‘Piano concerto’ (1996), a ‘Violin concerto’ (1998), a ‘Clarinet Concerto’ (2001) and ‘Seyir’ (2002) for 25 western and non-western instruments (premiered in the Berliner Festspiele 2002).

In 2003, Loevendie founded the ensemble Ziggurat, a combination of western and non-western instruments. Since then he wrote many compositions for this ensemble. On the 11th of October 2014, the opera ‘Spinoza’ premiered at the Grote Zaal of the Concertgebouw in Amsterdam.

For one of his jazz records he received an Edison in 1969. He was awarded the 1979 Wessel Ilcken Prize for all his jazz activities through the years.

The recording of ‘De Nachtegaal’ (The Nightingale) was awarded an Edison in 1982; a year later followed the prize of the RAI (Italian Television and Radio) for the television production of this work, which since then has been performed in many languages all over the world. In 1984, Loevendie shared with Pierre Boulez the American Koussevitzky International Record Award; he received the prize for ‘Flexio’ (1979), written on the occasion of the 90th anniversary of the Concertgebouw Orchestra. The opera ‘Naima‘ (1985) was awarded with the Matthijs Vermeulen Prize 1986 of the City of Amsterdam. In 1988, Loevendie was the first composer to receive the prestigious 3M Music Award for his entire output and his great merits in musical life. In 2016, he received the Andreas Medal of Honour of The City of Ansterdam for his lifetime achievements.

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Peter Kerkelov

Peter Kerkelov is a Bulgarian composer born on 18th January 1984.

Currently Peter Kerkelov is pursuing PhD in Ethnomusicology at Bulgarian Academy of Sciences, Sofia. He holds Master’s degree in composition from Royal Conservatoire, The Hague where he studied under Martijn Padding and Guus Janssen. He holds another Master’s in composition from Academy of Music, Dance and Fine Arts (AMDFA), Plovdiv, Bulgaria, where his teacher was prof. Dimitar Tapkoff. From the same academy, he holds Bachelor in classical guitar and music pedagogy with teachers Milena and Valentin Valchev.

In 2006-2007, as an exchange student he studied composition under prof. Dan Dediu in National University of Music, Bucharest, Romania. Peter Kerkelov has been selected for masterclasses with Louis Andriessen, David Lang and Kaija Saariaho.

Currently, Peter Kerkelov is a teacher in Polyphony at AMDFA and “expert stage activity” and music score librarian at National Opera-Plovdiv. Prior to that, he was appointed as a classical guitar teacher at National School of Music and Dance Arts “Dobrin Petkov”, Plovdiv. Peter Kerkelov is a freelance composer since 2012.

Kerkelov’s music possesses ascetic sincerity and profound straightforwardness. Though gaming with repetitive overtone-based melodic structures with multiple, self-reflecting transmigrations, his works very often cross over the limits of mere sonic games and aim to the fields of philosophy, to those other art forms – elements of which he integrates in his conceptions.
– In 2015, he wrote ‘Time Etudes‘ for orchestra, two choirs and voice solo, originally commissioned by Orchestre philharmonique de Radio France, later on to be commissioned by Bulgarian National Radio.
– The string quartet ‘Two Symphonies and Postumus‘ was commissioned by Dutch Chamber Music Society on its 100th Anniversary, and was written for Ruysdael Kwartet, who premiered the work.
– In 2011, he composed ‘Attempt at Screaming‘ for ASKO/Schoenberg Ensemble.
– As a part of 2010 “New York comes to The Hague” project, he wrote ‘HORO‘ for Bang on a Can-All Stars.

Currently, KLANGFORUM Wien member and accordionist Krassimir Sterev commissioned Kerkelov for a solo accordion composition. Previous commissioners include Ensemble KLANG, Royal Conservatoire The Hague, Duo CaJon among others.

Kerkelov’s music has sounded in Bulgaria, The Netherlands, Germany, Austria and the USA on distinguished venues such as Konzerthaus Wien, Gaudeamus Music Week, BOZAR Brussels and the annual New Bulgarian Music Preview in performances by Asko/Schoenberg Ensemble, “Bang on a Can All-Stars”, Ensemble PHACE (Austria), Ensemble “Musica Nova” (Bulgaria), Ruysdael Kwartet among others.

Next to that he has had a fruitful collaboration with Bulgarian National Radio (BNR), where up to date he recorded: ‘Time Etudes‘ with Orchestra and Choir of BNR with Israeli soprano Reut Rivka Shabi under Dragomir Yossifov; ‘Attempt at Screaming‘ with Ensemble Music Nova-Sofia under Dr. Yossifov; ‘Two Symphonies and Postumus‘ with string quartet FROSH (Bulgaria).

– In 2012, Kerkelov won 59th International Rostrum of Composers in Stockholm in “under 30” category with ‘Attempt at Screaming‘;
– In 2016, his ‘Time Etudes‘ received “Top 10 recommended work” in “General” category at 63rd International Rostrum of Composers in Wroclaw
– Finalist at Sentierri Selvaggi Composition Competition, Milano;
– Scholarship from Richard-Wagner-Stipendienstiftung – Bayreuth;
– Twice awarded “Grant for artistic high education” by Schuurman Schimmel-van Outeren Stichting;
– Twice awarded “Scholarship for classical music” by Raina Kabaivanska Foundation.

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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