“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 Donemus Foundation welcomes Elise Menkhorst as new board member. She is a lawyer and specialist in the fields of intellectual property law and commercial contracts. She has been part of Clairfort from the time of its establishment in October 2017. She developed the current publishing contract of Donemus when it was still part of MCN. Donemus is very honoured to have her in the board…
She provides advice and litigates in the fields of law governing trading names, trademarks, copyrights, designs and advertising, amongst others. Elise helps both Dutch and international businesses and acts in relation to domestic and cross-border disputes. She liaises with designers and businesses about securing the best possible protection for their rights. She also helps various parties in the case of an infringement. This may involve either enforcing rights in relation to other parties who exercise them in the absence of consent or where such parties are themselves called to account.
She is also active in drafting and assessing general terms and conditions. Apart from this, she is in her element when negotiating and drawing up commercial contracts, such as collaboration agreements and contracts providing for the assignment and exercise of intellectual property rights.
Elise studied at the University of Leiden and at the UC Hastings College of the Law in San Francisco. At the time Elise started out with the intellectual property and IT firm, De Gier | Stam & Advocaten, in Utrecht and later worked as part of the intellectual property practice of Banning Advocaten in Den Bosch. She has been involved in Clairfort since its establishment. She is an enthusiastic, accessible and highly motivated lawyer, and dedicates herself to obtaining the best outcome for her clients with the aid of strategy and expertise. Elise regularly gives talks in her fields of expertise and is a member of the Beneluxvereniging voor Merken- en Modellenrecht [Benelux Trademark and Design Law Association] (BMM) and the Netherlands Advertising Law Association [Vereniging voor Reclamerecht] (VvRr), amongst other things.
The Amsterdam Score Collective conducted by Ed Spanjaard will perform works by Jos Kunst, Theo Loevendie and Tristan Keuris e.o. at the Muziekgebouw aan ’t IJ on January 18th…
A concert with Dutch music from the period between 1965 and 1980, a time in which the famous ensemble culture emerged. In 1980, Joël Bons, together with Score Collective conductor Ed Spanjaard, founded the Nieuw Ensemble, with which they built on Dutch ensemble music over many years. Bons was part of the birth of Score Collective and writes a new work especially for this concert.
Jos Kunst’s composition Insects gives the name to this program. The diversity and industry and sometimes the stubbornness of this class of arthropods symbolize the activity and productivity of the Dutch composers. In addition to Tristan Keuris‘ rarely performed work, one can enjoy the beautiful Six Turkish Folk Songs of Theo Loevendie. And also a brand new work by the youngest generation of composers.
(Dutch article:) De veelgeprezen nieuwe roman van Arnon Grunberg is nu gratis te downloaden als Immer-app, een nieuwe manier van lezen op iPhone en iPad met daarbij Canto Ostinato van Simeon ten Holt…
De app verdeelt de tekst van Goede mannen in afgemeten porties en brengt die soepel, stijlvol en overzichtelijk in beeld. Zo wordt het makkelijker om aandachtig te lezen, in korte en lange sessies.
Met koptelefoon op kun je tijdens het lezen luisteren naar Canto Ostinato van Simeon ten Holt, net zoals Grunberg dat deed tijdens het schrijven. Zo kom je extra in de sfeer. De app bevat bijna 3 uur muziek.
‘Dit leest echt heel prettig,’ zegt Grunberg er zelf over.
Het Immer-systeem is in Nederland ontwikkeld, gebaseerd op jarenlang onderzoek naar digitaal lezen door hybride schrijver Niels ’t Hooft.
De Goede mannen-app is gratis te downloaden in de App Store op iPhone en iPad, en bevat het eerste deel van het boek. De rest van het boek kun je kopen vanuit de app.
On January 31th the piano quintet One/Life by Vanessa Lann will have its world premiere by Jack Liebeck, Alexandra Raikhlina, Philip Dukes, Gemma Rosefield and Katya Apekisheva. This premiere will be at Sage Hall 2, The Sage, Gateshead (UK)…
This work was commissioned for the closing concert of the Brundibár Arts Festival in Newcastle and Gateshead, UK. Launched in 2016, the annual Brundibár Arts Festival is the only recurring British festival dedicated to artists who were victims of the Holocaust. In addition to celebrating the work of those artists murdered or who perished, the Festival regularly commissions a new composition as a message of hope in times of adversity.
This concert is dedicated to the memory of Hanni Begg (1929-2017) who was torn from home as a child but narrowly escaped deportation. She was the only family member to survive the war. Hanni was also a keen supporter of the Festival from its inception.
On Saturday evening, January 26th, organist Jan Hage will perform the complete organ cycle ‘Jets d’orgue’ at the ‘Orgelpark’ in Amsterdam…
‘Jets d’orgue’ must be taken quite literally: an organ is a fountain of thousands of pipes spraying its sounds through the space around it. The organ has always fascinated me, especially because of the acoustical space it usually finds itself in, which I consider as the resonance body of the instrument, or rather: its element. I also enjoy the challenge of bringing a huge machine to life. An organ resembles a big airplane, an apparently clumsy assembly of bits and parts as long as it stands on the ground. To get it off the ground requires the sort of skill and sophistication the crew of a big airplane needs. In fact, Jets d’orgue requires such a crew: the two assistants at the stops are as important as the organist.
The display and rhythm of changing colours is as essential as the movement of pitches. Part 1 consists of 3 Jets. Each Jet is followed by (i.e. channeled into) a section of homophony, 2-layered polyphony and 3-layered polyphony respectively. And each Jet is concluded by a special organ effect, which celebrates a particular characteristic of organ-playing. In this case Jet 1 is concluded by a field of garlands; Jet 2 by a heterophony and Jet 3 by a set of gestures. The heterophonies especially are designed to interfere with the domination of the octave interval in the coupling of different footages.
Music as a stream. Thoughts like water. Sudden mood swings and ideas that logically result from each other. A new composition specially made for cellist Nuala McKenna. She will perform the premiere on January 24th, and that will mark the start of her tour in the ‘Dutch Classical Talent’ series…
The Dutch Classical Talent Tour & Award is a special program for young musicians. The four finalists are Rik Kuppen, Maya Fridman, Peter van Loenen and Nuala McKenna. They will go on tour at various concert halls.
The German-Irish cellist Nuala McKenna (1993) is known for her guts: she puts together daring programs and plays everything by memory. She will bring the premiere of Max Knigge’s ‘To the Lighthouse‘.
On Friday, January 18th, the Rotterdam Philharmonic Orchestra will perform ‘Morphic Waves’ of Joey Roukens at TivoliVredenburg. Elim Chan will be the first female conductor on stage with this work of Joey Roukens…
‘Morphic Waves’ is a symphony cast in one continuous 23-minute span, consisting of several subsections that organically morph into one another, not unlike Sibelius 7th Symphony, a piece which Joey Roukens adores. Throughout the piece one can hear wave-like elements, most notably in the dynamic swells (‘waves’ of crescendo and diminuendo or fade in/fade out) in all instruments, but also in the way the orchestral textures expand and contract. The piece is mainly about texture, color and harmony. The harmonies are mostly rather dark-hued, although the final 5 or so minutes are very serene and tender. The piece was written as part of Joey’s residency with the Netherlands Philharmonic Orchestra during the 2015-16 concert season.
Morphic Waves had its first performance on June 8th, 2016 at the Concertgebouw Amsterdam by the Netherlands Philharmonic Orchestra and conductor Marc Albrecht. Written with financial support of the Performing Arts Fund NL, it has been performed in The Netherlands, France, Italy and Russia.
Since then it has been performed in France, Italy and Russia.
Bram Van Camp composed the compulsory work for the Semi-Final of the Queen Elisabeth Competition for violin 2019. This Scherzo – Bagatelle for violin and piano will be premiered by 24 semi-finalists in Flagey, Brussels. From May 6th till 11th…
At each session of the Semi-Final, which consists of two parts, the public hears four different semi-finalists: the first two perform a Mozart concerto with the Orchestre Royal de Chambre de Wallonie, conducted by Jean-Jacques Kantorow. The Mozart concerto will be chosen from Concertos K. 207 (No. 1 in B flat major), K. 218 (No. 4 in D major), and K. 219 (No. 5 in A major).
After the break, the other two perform their recitals, with piano accompaniment. The jury will choose one of two recital programmes proposed by the candidate, each including works of the candidate’s choice (containing one sonata for violin and piano), Eugène Ysaÿe’s 3rd and 4th movements of the Sonata in G minor, Op. 27 No. 1, and the compulsory work Scherzo – Bagatelle written especially for this year’s competition by Belgian composer Bram Van Camp.
The Nederlands Kamerkoor ushers in the new year with a spectacular a cappella programme. The Russian singer and researcher Daniil Sayapin has collected some unique scores from Russian convents and archives…
Works in the so-called Strochnoe tradition, which with their astonishing harmonies may sound strange to Western ears. With Sayapin as precentor, the Nederlands Kamerkoor will draw on this magnificent collection of music to reconstruct an 17th-century Requiem. Obscure Russian sounds from a rich musical past.
The Russian Requiem Great Panikhida, reconstructed by the Russian singer and researcher Daniil Sayapin, will be performed in eight prestigious concert halls of the Netherlands.
Before the concert in Haarlem on January 26th, Daniil Sayapin will give a Masterclass in which he will share more about the Russian early music repertoire.
The period of ancient Russian staff-less multi-part singing was relatively short: from the end of the 15th century to the first half of the 18th. In this short time span, it developed rapidly and reached its peak by the middle of the 17th century. Manuscripts dating from the beginning of this period show only traces of multi-part singing. A consistent form of notation followed, where voices entering the polyphonic relationship are written together, one after another. This form is replaced by pogolosny, wherein every voice is notated on a separate staff (vocal part). Score notation already appears in the sources from the first half of the 17th century. In these manuscripts, chanting is notated using the special neume notation known as kazansky (kazansky znamya). The beginning of staff notation can be seen in the early 18th century, with the accurate transformation of neume notation (Example 1) into an early form of 5-staff notation (Example 2), which was easier to read. The latter form became a key factor in reading polyphonic chants written using kazansky znamya. The precision of such translations is undoubtedly correct, since they were done by educated singers who perfectly commanded both neume and sheet music writing forms.
Polyphonic singing was performed by highly qualified professionals and formed the repertoire basis of nobility’s employees and Patriarch’s singing clerks. Its beauty and refinement finds no counterpart in other national musical cultures. Compositions of strochny and demestvenny polyphonic chants belong to the masterpieces of anonymous composers of ancient Russia. Nowadays only a few of them are known, the most famous being Varlaam Rogov (†1603), Metropolitan of Rostov.
This edition contains two types of multi-part singing: strochny (3-part) and demestvenny. One-voice monodic chants (putevoy /putny and demestvenny) are used as cantus firmi in relevant voices. The Putevoy chant was named due to its special extension. The term demestvenny comes from late Greek δομέστικος (literally “domestic”), referring to the head of the choir and its soloist. The Demestvenny chant is a kind of master chanting.
The Strochny (3-part) polyphony is in the core of the present selection. This type of singing was fundamental in ancient Russian culture. It is based on the “path” (putevoy/putny) chant, doubling the repertoire of the znamenny chant. In numerous manuscripts, linear notation is presented both by vocal and non-vocal singing. The entire base of monodic chanting likewise became the foundation of three-part singing: eight church modes, melodic structure, and long musical phrases (litzy and fity).
The demestvo or demestvenny polyphony is probably the most solemn chant of the Moscow Russia period. Due to its extraordinary complexity, its repertoire is limited. It was considered the most perfect and skilful singing technique, referred to as “the most wonderful way of singing” in contemporary sources. This edition represents four works of demestvo: small litany (XXIII), kontakion (XXIV), conclusion (XVIII) and memory eternal (XXX).
The primary sources of the present music were provided by manuscripts of the second half of the 17th century. The purpose of this edition is to show some samples of a unique musical form, the importance of which is comparable with masterpieces of Leonin (c. 1150–1201), Perotin the Great (fl. c. 1200) and Guillaume de Machaut (c. 1300–1377).
Hopefully, the art of the ancient Russian chant will be recognized as an indisputable masterpiece along with icon painting, temple architecture, and literature monuments.
Donemus offers a new service to Libraries and Conservatories. Students can now access all scores and download them as PDF. The educational institute can arrange a license by paying an annual fee to Donemus for their students…
Seven Dutch conservatories have settled a license to access thousands of scores in PDF. The rich catalogue of Donemus contains over 14,000 scores. Students can create their own account which will be approved by Donemus. When students want to perform a work and need the parts, they can order it in the usual way at Donemus.
Donemus will offer this service to conservatories and libraries more. This is a great way for composers to have their scores promoted and gain more interest of younger generations who are the musicians of tomorrow. Donemus will split the revenues and add it to the composers’ royalties.