London Philharmonic releases recording of Martynov’s ‘Utopia’.

The London Philharmonic Orchestra (LPO) announced the release of its new album ‘Utopia’ on the LPO’s own label, featuring Vladimir Martinov’s Utopia Symphony performed by the LPO and London Philharmonic Choir under Principal Conductor Vladimir Jurowski, featuring soloist Jun Hong Loh on violin…   

Written by Colin Anderson:

In commissioning Vladimir Martynov to compose a symphony in 2004, I could not have foreseen a trajectory leading to this recording by the London Philharmonic Orchestra at the Abbey Road Studios. It was a leap of faith.” said Michael Tay, former Ambassador from the Republic of Singapore to the Russian Federation and commissioner of this unusual symphony.

Vladimir Martynov (b. 1946) is a prominent Russian composer whose works have enjoyed particular success in the Soviet Union since the 1970s. Having traversed the genres of electronic and rock music, Martynov turned his attention to religious music before returning to his distinctive minimalist style. The London Philharmonic Orchestra gave the world premiere of his first opera La Vita Nuova in 2009, and his composition ‘The Beatitudes’ was featured in Academy-Award-winning film La Grande Bellezza.

In May 2003, just five months after arriving in Russia, Michael Tay heard a performance of Martynov’s La Vita Nuova, and was immediately spellbound. He asked the composer if he would write a symphony in celebration of Tay’s native Singapore. Having never been to the country before, Tay invited Martynov to visit, who was incredibly struck by the city.

Tay, in the booklet notes, said, “After visiting Singapore, [Martynov] felt that Singapore was a small country but a big idea: he felt we had achieved something called Utopia that the Soviet Union could not achieve in its 70-year history.”

The work’s text is taken from the world-famous ancient Chinese text, the Tao Te Ching (The Way of the Tao), traditionally attributed to Lao Tzu. Martynov often quotes other composers in his works, and this piece features the famous opening of Robert Schumann’s 1838 piano cycle Kinderszenen. The short piece, entitled Von fremden Ländern und Menschen, provides an apt description of a Russian writing about Singapore, but is also significant in Martynov’s view that the modern world leaves us ‘only with a childish faith in the magical power of repetition’.

Martynov’s Utopia Symphony enjoyed its world premiere in Moscow in 2005, and is now being released in its world premiere recording with the London Philharmonic Orchestra, generously supported by Michael Tay’s own organisation, Foundation for The Arts and Social Enterprise.

The LPO established its own label in 2005, in order to share as much of the Orchestra’s music as possible. Taken mostly from live-recorded concerts, the catalogue features recent as well as archive recordings with conductors such as Beecham, Boult and Haitink, as well as its Principal Conductor, Vladimir Jurowski.

David Burke, Chief Executive of the LPO, said:
“We are very excited and grateful to be able to collaborate with The Foundation on this project. (Vladimir) Jurowski, the Principal Conductor of the LPO, is a great supporter of contemporary music. He deeply admired Martynov’s work and was very keen to record this piece of Martynov’s with the Orchestra, and so the LPO took the project on.”

Vladimir Martynov commented:
“UTOPIA is one of the most unusual commissions I’ve worked on. To me, Singapore manages to capture the essence of “utopia” very well by constantly reinventing itself, and its citizens striving to better themselves and the people around them, which is the essence of the vision that Singapore was founded on. I am excited to watch it be resurrected in concert halls across the world. To have the LPO record this piece is also a great honour.”

Michael Tay, founder of Foundation for The Arts and Social Enterprise commented:
“The underlying vision of this symphony is a restoration of what it means to be human, striving to be better than ourselves even in a world full of anxiety and foreboding. We are honoured to have the LPO as part of this journey towards Utopia.”

Podcast ‘Making an opera’ about Willem Jeths’ Ritratto wins Prix Europa 2020

The podcast Making an Opera has won the Prix Europe 2020 in the category ‘radio programme’. The podcast by radio maker Stef Visjager, produced together with the NTR and De Nationale Opera, is about the making of of Ritratto, Willem Jeths’ opera, which was to premiere on the day the first lockdown came into force…   

Visjager follows the seven young singers and the artistic team behind the opera from the very beginning until the cancelled premiere. Very well told and edited’, says the jury, and ‘this podcast makes opera accessible with warmth and humour. Bravo!

Ritratto’s premiere and performance series was cancelled in March because of the lockdown. The production premiered at the beginning of this month, but already after three performances the series had to be cancelled due to the new corona measures.

The podcast ‘making an opera’ can be found on our website or in the podcast app on your smartphone. Last month the podcast also won the 2nd prize at Prix Italia.

Comments from the Jury Group:

“Very well narrated and edited, and told with enthusiasm and drama.“
“Very detailed in the numerous aspects of narration, the several angles and points of view sum up to a thrilling inside-story of the opera world. This programme is a good example to tell a „classic“ story with new means – and a very special, highly appealing tone. “
“Making opera accessible with warmth and humor. Covers corona in a very engaging way. Bravo!“
“The feelings behind and on stage and the music mixed together with what is happening. It ’s exceptional!“

Seven young singers are given the chance of a lifetime: singing a world premiere at the Dutch National Opera. Podcast maker Stef Visjager follows the singers and the artistic team behind the scenes for eighteen months. Visjager shows how every word, every note, every piece of clothing, and every prop is the subject of a battle. There are secret love affairs and intrigues. In other words: the making of an opera is often as dramatic as the opera itself. Especially when, right before opening night, it turns out that years of hard work may have been for nothing.

Submitting organisation: NPO
Contact: Ineke Woudenberg – Stef Visjager
Author: Stef Visjager
Director: Stef Visjager
Sound: Stef Visjager
Commissioning editors: Frans van Gurp, Jair Steijn
Producer: Stef Visjager
Production companies: NTR Radio, Studio Desmet
Key staff: Stef Visjager, Frans van Gurp, Jair Steijn, Liz Kruisheer, Frans de Rond

Title of Series: Episode: Making an Opera
Length: 25 min
Original language: Dutch, English
First broadcast by: NPO
Date of first broadcast: 14 March 2020, 17:30

All Podcasts

Watch and listen to Ritratto

Donemus receives grant of €10K from the Cultuurfonds

The Donemus Foundation is very excited to receive a grant of €10K from the Bernhard Cultuurfonds for Donemus Records. With this investment Donemus can boost its activities around the labels. During these hard times, composers, musicians, ensembles can be present worldwide at all platforms like Apple Music, Spotify, Deezer and many more…   

Sinds maart 2020 hebben veel musici, ensembles en orkesten wereldwijd hun kernactiviteiten in de ijskomst moeten zetten. COVID19 heeft de cultuur en vooral de podiumkunsten sterk geraakt. Bijna alle concerten zijn geannuleerd. Op dit moment worden sommige kleinschalige initiatieven weer hervat. De symfonische muziekwereld zal echter op z’n minst de rest van dit jaar in een zware dip blijven. Veel musici zien hun inkomsten sterk dalen. De segmenten van de muziekindustrie die nog steeds goed draaien, zijn de streaming-diensten. Iedereen luistert nog steeds naar muziek, zeker zolang de mogelijkheden om in het openbaar naar muziek te luisteren zeer beperkt zijn. Zo slagen de grote labels in de muziekindustrie erin om te overleven.

Here you can find the description of our project, in Dutch.

Doel van dit project

  1. Het project ‘Audio Online’ nodigt hedendaagse componisten en actieve muzikanten en ensembles uit om via Donemus Records gearchiveerde opnames digitaal uit te brengen, om zo een groter en breder publiek te bereiken voor hun muziek, zeker in deze moeilijke tijden.
  2. Dit project gaat niet over fysieke CD’s, maar over wereldwijde digitale distributie.
  3. Dit project gaat niet over het produceren van opnames, maar over het distribueren van reeds bestaande opnames.
  4. Met dit project verdienen zowel de componisten als de uitvoerders een eerlijk deel van de royalty’s aan online distributie. Bovendien zullen gedistribueerde opnames een uitstekend promotiemiddel zijn voor zowel componisten als uitvoerenden.
  5. Componisten en uitvoerenden zullen worden gehoord en aandacht krijgen in een wereldwijde markt van streaming-diensten. Het zal hen helpen om hun internationale zichtbaarheid te vergroten, waardoor ze wereldwijd meer belangstelling kunnen krijgen van ensembles, dirigenten en programmeurs.

Project beschrijving

Uitnodigen van muziekpartners

Van veel openbare concerten die de afgelopen jaren zijn uitgevoerd, zijn goede opnames beschikbaar. De meeste concertzalen beschikken over hoogwaardige opnameapparatuur. Soms zijn deze opnames uitgezonden op een lokaal radiostation, maar meestal is die audio ergens gearchiveerd. Donemus heeft een sterk netwerk met klanten in meer dan 80 landen. Werken die door Donemus worden uitgegeven worden jaarlijks op honderden concerten uitgevoerd. Deze partners kunnen we direct benaderen voor dit project. Donemus is al in gesprek met o.a. November Music, Omroepen etc. om gearchiveerde opnamen onder het stof vandaan te halen voor online distributie.

Afspraken eenvoudig vastleggen

Donemus heeft een workflow gecreëerd waar zowel muzikanten als componisten hun opnames kunnen uploaden en de contactgegevens van alle rechthebbenden (zoals solisten, dirigent, ensemble) kunnen doorgeven. Op basis van de ingevoerde gegevens creëert Donemus een digitale conceptovereenkomst. In dit project zijn de deelnemers niet verplicht om hun intellectuele eigendomsrechten over te dragen, maar geven ze Donemus een licentie om hun content online te verspreiden. Met andere woorden, overeenkomsten kunnen digitaal worden geregeld en hoeven niet te worden ondertekend op papier. De rechthebbenden ontvangen automatisch een e-mail met het verzoek om in te stemmen met de conceptovereenkomst. Zodra elke partner de overeenkomst digitaal heeft goedgekeurd, kan Donemus de productie van de opname voorbereiden voor online distributie. Stichting Donemus Beheer staat garant voor het langdurig bewaren van de overeenkomst en de inhoud ervan. Als non-profit organisatie garandeert het dat de opnames veilig zijn en niet aan een derde partij kunnen worden verkocht.

Voorbereiding van releases

Om een opname klaar te maken voor distributie, zorgt Donemus voor de mastering om de geluidskwaliteit te verbeteren waar dat nodig is, zoals het verwijderen van ruis, applaus, het normaliseren van het volumeniveau, enzovoort. Donemus maakt het artwork op basis van een standaard sjabloon, tenzij de rechthebbenden de voorkeur geven aan hun eigen artwork. Donemus stelt de combinatie van werken op een release voor, van een single van een paar minuten tot een album met een uur muziek of nog langer.

Beheer van metadata

Donemus heeft een contract getekend met FUGA. Dit is een wereldwijd toonaangevende aggregator die muziek van vele labels indient bij online muziekplatforms zoals Apple Music, Spotify etc. FUGA is een van de 5 ‘preferred suppliers’ van Apple en bewijst daarmee hun hoge standaarden en de kwaliteit van de metadata. Als aggregator op topniveau biedt FUGA geavanceerde opties om klassieke muziek te categoriseren en te classificeren. Hun portal biedt vele velden om de verschillende rollen in te voeren zoals ensemble of orkest, dirigent, solist en componist. Donemus hanteert EAN- en ISCR-codes, past alle ‘Apple styleguides’ toe met betrekking tot alle details in de naamgeving van artiesten en composities en tracks. Het FUGA-platform biedt de mogelijkheid om biografieën en foto’s van alle artiesten (solist, dirigent, etc.) toe te voegen alsmede extra informatie aan het werk, zoals tekst of een booklet in PDF en zelfs partituren in PDF zodat men tijdens het beluisteren van de opname kan meelezen.

Het bereiken van publiek

Dankzij FUGA is Donemus Records al aangesloten op 50 digitale distributieplatforms. Het meest bekend zijn Apple Music en Spotify. Er zijn echter veel interessante niche-platforms waar het nieuwe repertoire van de hedendaagse klassieke muziek zeer gewaardeerd wordt. Sommige, zoals Primephonic, Tidal en High Res Audio verrijken opnames met de toegevoegde content die Donemus via FUGA kan inzenden.

Fair Practice voor componisten en musici

Componisten en uitvoerders krijgen een billijk deel van de inkomsten. Componisten krijgen 25 procent en uitvoerenden samen 50 procent van de verdiende inkomsten. Donemus houdt 25 procent over voor de eigen inspanningen. Een eerlijke en transparante vergoeding maakt dit project zeer aantrekkelijk voor partners, van solisten tot symfonische orkesten.

Uitbreiding van de reikwijdte

Donemus Records wordt gelanceerd met het label Composers’ Voice. Deze naam is ontleend aan het verleden toen Donemus LP’s en fysieke CD’s produceerde. Het richt zich op opnames van werken van componisten die bij Donemus worden uitgegeven. Vrijwel de gehele back catalogus van 223 CD’s komt ook via FUGA beschikbaar. Donemus publiceert, vertegenwoordigt en promoot 650 componisten, meestal levende Nederlanders, maar in toenemende mate ook uit vele andere landen zoals bijvoorbeeld België, Duitsland, Italië, Polen. Veel van deze auteurs zijn aangesloten bij Buma/Stemra en genereren dus ‘Nederlands copyright’.

Tot nu toe hebben deze componisten genoeg opnames ingediend voor zo’n 150 releases, wat hun enthousiasme en vertrouwen in dit project en in Donemus duidelijk maakt. Het plan is echter om de scope van Donemus Records uit te breiden naar meer dan de componisten die door Donemus worden gepubliceerd.

In het najaar2020 zal Donemus een nieuw label lanceren, Musicians’ Voice, met de intentie om deze diensten aan te bieden aan elke componist en musicus. Dit zal onze partners zoals orkesten, ensembles en solisten de mogelijkheid bieden om een nog breder scala aan opnames in te dienen. Voor velen van hen is het erg moeilijk om de weg naar Apple Music en Spotify te vinden. Nu al ontvangt Donemus opnames van muzikanten en orkesten uit heel Europa. Het nieuwe label komt tegemoet aan de groeiende vraag naar de diensten die Donemus aanbiedt.

Donemus Stichting

De Stichting Donemus Beheer bezit de uitgaverechten van meer dan 15.000 hedendaagse klassieke werken van 650 componisten. Oorspronkelijk opgericht in 1947, kort na de Tweede Wereldoorlog. Donemus is een non-profit organisatie met een bestuur van vertegenwoordigers uit de muziekwereld. In 2013, toen de Nederlandse regering alle steun aan enkele grote kunstorganisaties introk, nam de nieuwe Stichting de uitgavetaak over van Muziek Centrum Nederland. De Stichting is verbonden aan Donemus Publishing BV, die namens en in opdracht van de Stichting de dagelijkse administratieve en uitvoerende werkzaamheden verricht.

De Stichting tekent jaarlijks 400 nieuwe uitgave-contracten. Ze begeleidt jonge componisten aan de Donemus Academie. Deze cursus wordt zowel gegeven op het Donemus-kantoor in Den Haag als op de afdeling Compositie van verschillende Nederlandse Conservatoria.

Donemus koestert zo’n 1000 gescande werken van Forbidden Music Regained, een project gericht op het bewaren en beschikbaar stellen van muziek van componisten die tijdens de Tweede Wereldoorlog waren verboden.

De Stichting heeft de ANBI-status, wat betekent dat zij erkend is als een Algemeen Nut Beogende Instelling.

Jan Boerman †

On 25 October last composer Jan Boerman died at the age of 97. He was a pioneer in the field of electronic music, and a man who experimented with endless patience in the music studio, and who over the decades built up an impressive oeuvre of mainly so-called ‘tape music’. Donemus will treasure his musical legacy…   

Jan Boerman had been a student at the Hague Conservatoire with Léon Orthel (with whom he studied piano – he himself continued to teach a minor in piano until his retirement) and Hendrik Andriessen (from whom he received composition lessons). He was attracted to electronic music because it was precisely in this area that there was so much to discover. He worked in the first electronic music studio in our country (in Delft), and was also a teacher at the Royal Conservatoire until the end of the 1980s.

In an in memoriam in De Volkskrant, Frits van der Waa describes him as ‘one of the very greatest’ in his field. With Dick Raaijmakers and Ton Bruynèl, he was, according to Van der Waa, one of ‘the pioneers of Dutch electronic music, but of the three of them he was the only one who focused mainly on ‘tape music’, entirely taped compositions’.

In 1982 he was awarded the Matthijs Vermeulen Prize for his oeuvre. For his electronic composition Vocalise 1994 he was awarded the Willem Pijper Prize in 1997. The CD box The Complete Tape Music of Jan Boerman, which appeared in 1998, was awarded an Edison.

Listen to this Complete Tape Music on Spotify:

We’ll never let you down; A cello-opera on Jacqueline du Pré

This theatre and concert season Dutch Cello Sonatas and OT rotterdam present the cello-opera “We’ll Never Let You Down”. In the opera we observe two friends of the renowned cellist du Pré, one of the greatest cellists of her time. Tragically, she died at an age 42 of Multiple Sclerosis…   

In this triptych two friends of Jackie stand by while the memories of their loving, talented friend are being tainted by gossip, rumors and slander. The stories do not reflect the way they remember the radiant Jackie and her unbridled passion and enthusiasm for music.

From a very young age Jackie played with famous orchestras and renowned conductors. At 28 years of age it was not possible for her anymore to play the cello, what in hindsight was caused by MS. And if this all was not tragic enough, a book (A genius in the family)  and a movie appear about Jackie’s life. The works garnered a lot of criticism, because Jackie was shamelessly represented as an erratic, selfish and demanding nymphomaniac. Unfortunately, the damage was done, and Jackie was not alive anymore to defend herself against these slanderous stories.

The opera is not only a tribute to and an attempt to rehabilitate Jacqueline du Pré, but also a story about pain after death of a loved one and the damage rumors, gossip and fake news can do. A subject that is more relevant than ever.


Initially René Samson would compose the full opera. Sadly, he died unexpectedly in 2019. He left only the third act finished. Dutch Cello Sonatas decided the opera should go on and commissioned two young composers to write the two other acts. Mathilde Wantenaar wrote the first act and Max Knigge the second. Out of respect for their deceased colleague, the two composers have ingenuously incorporated themes and motives from René Samson’s act. This gives the opera a particular musical unity.


Mattijs van de Woerd – baritone, friend of Jackie
Doris Hochscheid – cello, friend of Jackie
Frans van Ruth – piano

Dramaturgy & Design

Mirjam Koen & Gerrit Timmers – Direction & Dramaturgy
Gerrit TImmers – Stage Design
Gerrit Timmers – Libretto
Anne Vegter – Prologue Text
Jacqueline de Maat – Costumes

We’ll Never Let You Down was produced in collaboration with Cello Biënnale Amsterdam.

Read the article by Thea Derks

Helena Basilova performs Morton Feldman: Triadic Memories

On one of our new labels, Donemus Musicians’ Voice, we have released a recording of Morton Feldman’s Triadic Memories, recorded by Helena Basilova…   

The music that Morton Feldman created in the 10 years before his death in 1986 is among the most beautiful music composed in the second half of the 20th century. The majority of these works are chamber pieces for various combinations of strings and piano, but a couple of them are for piano alone, and one of those is Triadic Memories, which received its first performance at the ICA in London in 1981.

For Helena Basilova, recording this impressive work for piano solo was a long-lived wish, which came true last spring when she finally found the time, space and silence it required. For all the lockdowners out there: dissolve in time (it takes 90 min) & enjoy!


Donemus launches new labels!

Donemus is excited to announce two new labels, Donemus Musician’s Voice and Donemus Crossovers. Donemus Records will be now available for more partners in our network, especially to performers, ensembles and orchestras of older repertoire and recordings where classical is meeting other genres. We offer to bring your recordings to a world wide audience in over 80 countries…   

Donemus Musician’s Voice

The label Donemus Musicians’ Voice has its roots in the former label NM Classics. At our new label, musicians can release their album with all kinds of repertoire. One can find here the organ works of Jacob Bijster and Maurice Duruflé, performed by Piet van der Steen, the complete performances of Henk Klop, the Russian Medieval Requiem for choir.

In October, Donemus Records releases the recording by Helena Basilova of Morton Feldman’s ‘Triadic Memories’, an impressive milestone of contemporary piano music.

Find the new releases of Donemus Musician’s Voice here.

Donemus Crossovers

Some releases have a strong link with more popular genres. Donemus Crossovers contains works performed by Vincent Martig and Kathleen McLean with compostions by Chiel Meijering. The spoken word release of Merlijn Twaalfhoven and Jurriaan Berger called ‘Waartijd’ is another example of a Crossover


Find the new releases of  Donemus Crossover

Read more here.

Wonderful tribute to composer Hans Kox

This new double CD has something like a double in memoriam. Hans Kox died last year, a few months before he would be the central composer of the Orlando Festival. And now the chamber music festival Orlando itself is threatened to have to stop because of the abolition of subsidies by the province of Limburg…   

No less than fifteen chamber works by Kox sounded in the summer of 2019, almost two and a half hours of music ranging from raw and expressive to tender and intoxicating, performed by great musicians. It is fortunate that the concerts were recorded, mainly by the Concertzender. Kox is better known as an orchestral composer and many pieces appear for the first time on CD, including the world premiere of the original hobo version of Le chant du merle. The sound quality is ‘live’: you can hear the halls of the former abbey Rolduc. The level of the performances and the playing intensity is high. An important document and a wonderful tribute to an exceptional composer.

The cd has been released on the label Et’cetera and was produced by the Orlando Festival. This double CD is for sale at the Hans Kox Foundation.

Performers are: Cyrus Allyar, Peter Brunt, Chekhov Trio, Dorian Cooke, Ellen Corver, Charly Delbecq, Katherine Dowling, Ingrid Geerlings, Larissa Groeneveld, Toby Hughes, Alan R. Kay, Malevich Piano Quartet, Mikhail Nemtsov, Elena Nemtsova, Ron Schaaper, James Austin Smith, Kristian Winther, Tjeu Zeijen.​

(Joep Stapel;NRC)


Petra Strahovnik: Balerinanirelab

The music-theater piece named ‘Balerinanirelab’ by Petra Strahovnik, based on the book ‘Ballerina, Ballerina’ by Slovenian writer Marko Sosič, will be premiered on 19 & 20 October 2020 at the Linhart Hall, Cankar Ljubljana, Slovenia
and on 21 October at the Velenje Festival, both in Slovenia…   

The novel “Ballerina, Ballerina” tells the story of a typical seafaring family in a town that overlooks Trieste through a surrealistic, rather than sickly, view of its heroine; a person with autism. She constantly dreams about a world that matches the one in her mind’s eye. Gazing towards the high starry sky above, she sees the satellites traveling and she longs for them. The world in Ballerina’s peripheral view is both sharp and dull at the same time, lyrically fragile and yet ruthless, cruel but fortunately short-lived. It is ours, our here and now, our always unpredictable world…

Petra’s opera piece is not a dramatization of the novel, but instead an ephemeral sound-space where the inspirations and inner atmospheres of Ballerina come to life. The stage is divided into imaginary chambers where everyone’s individual and intimate artistic action takes place: action slowly becomes a reaction, the reaction becomes an action of its own, and soloistic awareness graduates into a collective symphonic interaction. The complex perspective and Ballerina’s train of thought, influencing her emotions and senses, is channeled through three art disciplines: music, performance art and video. The duality of two singers as an aspect of complex emotions in the world of Ballerina is expressed through a musical concept ‘Continuum’, where the beautiful mind, intense emotions, complex personality, ‘united and divided’ lie under a magnifying glass.

The objective theatrical point of view is supported by a live-camera on stage that focuses one detail after another, resulting in a projection of micro-moments as a subjective truth. The camera is also a performer, an instrument of a live VJ situated on the set. Every performer creates its own private story, and all together they embody the associative inner world of Ballerina’s mind. Actions happen, reactions interweave, emotions pour, and the normally closed inner world of the heroine is exhibited so that the audience can plunge into it and deeply connect with her.

“I took the book ‘Ballerina, Ballerina’ in my hands, right when I was in very confusing times. The sensations overtook by body, the emotions my mind. My breathing became shallow and from very far I could see, feel, touch one sound engaging with the other. Torn between an inner world of ideas manifesting in audible creations and the outside world. The inner world, along with existential questions, was taking over, while the reality expected from me to be a perfect Society’ resident, play multiple characters of a life, and to act (live) as my culture taught me to act (live). I could envision from her eyes, I felt what she felt, I was Ballerina, I am Ballerina. My aim is to illuminate the diversity of Neuroatypical’ perspective and bring the Autism up close and personal”
(Petra Strahovnik)

Extended artistic collaboration.

This music-theater piece is the culmination of disOrders, a long-term collaboration project between Ensemble Modelo62 and Slovenian/Dutch composer Petra Strahovnik. During this period they have created new works combining performance art, video, and electronics, to raise questions on the place and importance of mental health in our society. An overview of these works includes:

  1. Five installations for solo performers, performed simultaneously in five galleries in The Hague. Each installation is based on a different mental condition: Depression, ADHD, Bipolar Disorder, Anxiety Disorder, Autism Spectrum Disorder.
  2. Three works for soloist plus ensemble. To be presented in Korzo Theater, The Hague, and during Gaudeamus Muziekweek. The works are based on three different mental conditions: Obsessive-Compulsive Disorder, Borderline Personality Disorder, and Schizophrenia.

BallerinaBallerina is made possible thanks to the financial support of Fonds Podiumkunsten, Stichting Dioraphte and Gemeente Den Haag.

Concept, composition, and sound art: Petra Strahovnik
Stage Director/Designer: Rocc
Music Director: Ezequiel Menalled
Production: Slovenian Chamber Music Theatre, and Ensemble Modelo62
Co-production: Cankar Centre and Opera Povera
19 & 20 October 2020 Linhart Hall, Cankar Ljubljana, Slovenia
21 October Velenje Festival, Slovenia
Banner photo: Joris Jan Bos

More info…

Calendar with music for 2021 by Kees Arntzen

After the ‘Cute Proverbs Calendar 2018’, for the year 2021 Kees Arntzen comes with a new calendar. This time with twelve lithographs and drawings of the Amsterdam School, the architectural style that caused a furore a hundred years ago…   

Each calendar page offers the opportunity to listen to matching music from the year of construction of the building depicted for a month via the internet. The choice of music was made in collaboration with the Leo Smit Foundation.

Concert and Vernissage

The twelve calendar sheets will be exhibited from Sunday 27 September in Museum Het Schip in Amsterdam in combination with a small concert on 31 October at 16.00, at which Kees Arntzen also presents his new CD ‘…dejar abajo…’.

With each calendar one will separately acquire an exclusive lithography of one of the buildings shown, traditionally printed in a very small edition on the presses of Steendrukkerij Aad Hekker on first quality ‘Reina’ – paper (retail value € 125,-).

This will also give access to the vernissage and the CD presentation with a small concert on Saturday, October 31 at 16:00 in the museum, if desired in combination with a previous museum visit and a small tour of the exhibition on master-builder Bruno Taut. (Admission to the museum free of charge with Museumjaarkaart or BankGiroLottery card, otherwise € 15,-)

Sign up Exclusive

In order to make the project financially possible and to be able to estimate the size of the print runs, Kees Arntzen organizes this subscription action in advance, for a select group of friends and acquaintances who were involved or turned out to be interested in previous productions.

  • For € 15 you get the new CD …dejar abajo…
  • For € 85 you will receive the Amsterdam School Calendar 2021 plus a hand-printed lithograph of your choice.
  • For € 95 you get the calendar 2021 including lithograph and cd.