“Donemus is courageous and committed in the way it actively promotes new music…. While some other countries have equivalent organizations, I am not aware of any that is so proactive. Donemus sets a standard that others should follow.”
(Stephen Baggaley, Brisbane)
The FD Persoonlijk (Personal Magazine of the Dutch Financial Newspaper) placed an article on Davo van Peursen as one of the 3 portraits entrepreneurs in classical music….
‘Every composer has a personal identity. If they extend that, there is room for everyone’, says Davo van Peursen, CEO of Donemus Publishing.
‘Mozart, Bach, Schubert: classical music of last centuries is known by many. Contemporary music is not that popular. Such a pity, because it deepens, widens, connects and above all: it holds us a mirror, because it is made in the time in which we live.
We recently released two interesting books on the subject made by Frans Bouwman: a scholarly transcription of all its manuscript pages as well as a new two piano arrangement. Read the review by Aart van der Wal…
Seven fully-fledged performing versions of Gustav Mahler’s last unfinished Tenthsymphony have now been published, of all which have been commercially recorded at least once. These efforts, together with recent books and articles on the subject, indicate an unabated interest in Mahler X.
A fundamental question remains: how much of the music in any performing version is authentically Mahler’s? Until now this question could not be answered, because a complete, scholarly, chronologically ordered, annotated and user-friendly transcription of the source material, which unequivocally records the extent to which Mahler completed his Tenth Symphony, was not available. Such a reference text is now finally presented here. It endeavours to provide an insight into the chronology of Mahler’s notation, to help to clarify the development of Mahler’s own ideas and thus provide a scholarly grounding upon which future editors may base their editorial decisions. The transcription, presented in the Donemus publication for the first time in its entirety, eschews any additions that did not originate from Mahler himself. It is intended as an easily accessible and comprehensible reference work for the music scholar, aspiring conductor or Mahler devotee.
To assess both the quantity and quality of the surviving material requires the examination of autograph materials dispersed among five different libraries as well as familiarity with five distinct facsimile editions. The availability of three electronic libraries facilitated easy access to the material. However thorough understanding of the sketches and drafts, particularly as regards their interrelationship, can be attained only after extensive study. The present transcription enables the reader to consult on one single page and with utmost clarity all of the existing material pertaining to any given bar of the Tenth Symphony……
The Donemus Foundation invites you for our annual network drink at the Hague Tower. Meet composers, conductors, programmers etc…
You’re welcome to join us from 16-19h at the suites on the 40th floor. Enjoy the view, meet your music friends and let us share some visions and plans for 2018. The DonemusBoard has to share some news.
On March 5, 2016 Jan van de Putte was at the Zaterdagmatinee. A full program with his complete cycle of the Pessoa songs. All who were there remember the impressive performance. It was recorded successfully and there were plans for a CD release…
It took 1,5 year to have the CDs completely finished. On november 30 the double CD will be presented at the Muziekgebouw aan ’t IJ. After the première of a new work by Klaas de Vries by ASKO|Schönberg, the CD will be presented by Etcetera.
You’re welcome to buy your copy (for just € 23), meet the composer, the ensemble and conductor Reinbert de Leeuw. Soprano KerenMotseri and mezzo-soprano BarbaraKoselj will sing the famous duet and Jan van de Putte will be available to sign the CD.
Please donate to the crowd-funding campaign by Fie Schouten for a new album of etudes for beginning bass clarinetist…
Two years ago Fie Schouten’s edition of “Bass Clarinet Miniatures” was published. That book contains short solo works for professional bass clarinetists and advanced conservatory students. Following the success of that project, now Fie Schouten is inspired to publish a new book of etudes for the beginning bass clarinetist. With your support, this crowd-funding campaign will make that possible.
She collaborates with 8 composers who are excited about this project and happy to contribute new etudes to this book:
Donemus has already agreed to publish the book. The aim is to release it in September 2018 – at the start of the 3rd Basklarinet Festijn, an international bass clarinet festival in The Netherlands. The Amsterdam Fonds voor de Kunst is supporting this project too. Please consider a donation and see the rewards.
November Music is an international music festival founded in 1993 and based in ‘s-Hertogenbosch, The Netherlands. It gives the audience a bird’s-eye view of what’s happening in with new music. Contemporary composed music features jazz, improvised and electronic music, musical installations, and music theatre….
Each year one can listen to a wide pallet of the latest works published at Donemus. This year we proudly present the next works performed at November Music:
– Ode to Man by YannisKyriakides in ballet by Silbersee ‘ Homo instrumentalis’
Vladimir Martynov – Autumn Ball of the Elves, for string orchestra; now with ballet by the Pacific Northwest Ballet!
Vladimir Martynov’s Autumn Ball of the Elves, for string orchestra, represents a Russian mix of minimalism and post-romanticism that can also be heard in the music of Estonian composer Arvo Pärt. Both composers abandoned academic compositional styles following religious conversions and developed individual voices influenced by personal interests and convictions. In Autumn Ball of the Elves, Martynov applies a theme and variations structure to a minimalist palette.
Martine Reurings & Dick Hanemaayer (bassoons) and the Van Wassenaer Orchestra under the direction of Benjamin Boers will perform the world premiere of Rise of Vanessa Lann on November 19…
A more prominent role for the bassoon – not hidden within, but standing in front of, the orchestra – that is what the Dutch Bassoon Network wished to create through its commission to Vanessa Lann to compose a concerto for two bassoons and orchestra. And with the unique goal of creating a work primarily intended for amateur bassoonists. The Dutch Performing Arts Fund provided the financial support for this commission. The first performance will take place on Sunday, 19th November 2017, featuring DickHanemaayer and MartineReurings as soloists, along with the Van Wassenaer Orchestra under the direction of Benjamin Broers.
Concertos for two bassoons and orchestra have existed for some time, but this work is unique: the sound combinations between the two bassoons are totally new, as are the timbres within the orchestra. The work begins with the two bassoon soloists, the first bassoon standing before the orchestra, and the second bassoon answering from within the ensemble. Their tones intertwine in short garlands, followed by repeated rhythms that will return in the second movement to give an important impulse to the music. With a leap of a minor ninth the bassoonists land on the beloved low C. That’s how the first movement begins. And yes, after the first movement the title of the piece will be celebrated, quite literally. But “Rise” (as a piece and as a project) is unique for other reasons. From the very start the main goal was to give as many players as possible the opportunity to perform the work. Special arrangements have also been made with the publishing house Donemus to make the work available to orchestras inside and outside the Netherlands. The two bassoonists from each orchestra performing the piece will have their hands full with the notes and rhythms. Even though the piece does not contain the virtuoso passages and cadenzas of the typical classical solo concerto, the solo parts are still demanding in other ways. In the second movement the music speeds up, with repeated rhythmic patterns. The third movement brings the sounds, tones and intervals from the first movement back into the picture. And in the fourth movement the rhythmic interplay within the entire orchestra leads to a surprising conclusion…..
Boundless, by Joey Roukens, will have its US premiere during the New York Philharmonic’s festival around Bernstein’s 100th birthday, Bernstein’s Philharmonic: A Centennial Festival (October 25-November 14)…
Boundless was written as an homage to LeonardBernstein, as the composer-conductor was a big influence for Roukens. The piece, conducted by AlanGilbert, will be performed along with a number of well-known orchestral pieces by Bernstein. It will be performed a total of fivetimes during the festival, on October 25-28, and October 31.
Boundless (Homage to L.B.) was composed as a companion piece to Bernstein’s Serenade (after Plato’s Symposium), requiring similar forces of string orchestra, harp, and percussion. Roukens has his percussionists play a larger array of instruments, and he adds a keyboard player, but does not use the solo violin spot- lighted in Bernstein’s piece. In the second of his three connected movements, Roukens alludes to the Adagietto of Mahler’s Fifth Symphony, and he also draws on two of Bernstein’s Thirteen Anniversaries (1988), short piano pieces written in honor of people in that composer’s circle — in this case, the Anniversaries No. 5 (for composer LeoSmit) and No. 13 (for Bernstein’s friend Ellen Goetz, in memoriam).
On October 12, Ralph van Raat will give the world premiere of a recently discovered piano concerto by Ton de Leeuw at the Laurenskerk in Rotterdam!
The piano concerto, from the year 1948, was put aside by the Ton de Leeuw when he left The Netherlands to study in Paris. The piece had not been picked up since then. Fortunately, the work was recently rediscovered and submitted to the well-known pianist, Ralph van Raat, and he is enthusiastic about finally letting the world hear its content! Following the premiere in Laurenskerk will be a second performance on October 14 in the Schönbergzaal, The Hague.