Composer Jan Welmer 80!

In September many churches in Utrecht are part of the festival on Jan Welmers, who gets 80. Several concerts and projects.   

Jan Welmers is one of the Dutch leading composers for new organ music. But his oeuvre contains works for other instruments and ensembles as well. His works are regularly performed both nationally and internationally.

With this festival marks his 80th birthday. A great milestone with many concerts with famous musicians like Jan Hage, Jetty Podt, Tatiana Koleva, Piet van der Steen. From September 16 to October 1, 11 concerts will be given as a tribute to composer Jan Welmers.

There will be a presentation on the work and the compositions of Welmers. A new CD with his works for organ by Jan Hage, will be presented and authors prof. dr. Hans Fidom, drs. Hugo Bakker, drs. Willem-Jan Cevaal and dr. Jan Hage will release a book on Welmer’s works.

More on the festival

More on Jan Welmers at Donemus


Simeon ten Holt at DortdYart

This weekend, Sense of Music will start. Sense of Music is the music program in the Sound Pavilion (Klankbodempaviljoen) of Dré Wapenaar.
The Sound Pavilion is build on the outside area of DordtYart. In this special pavilion the audience sits against the resonance box of the musicians, which makes the experience of a concert very intense and intimate at the same time.  

Sense of Music opens on Friday 15th of September with Lemniscaat by Rondane Kwartet, one of the warmest advocates of the works by Simeon ten Holt. From his oeuvre we programmed a number of concerts by different artists. The repetition of Ten Holt’s works and the freedom to experiment therein works very well with the acoustics of the Sound Pavilion.
During the opening weekend Rubric Piano Trio will also perform Incantatie 4 but this show is already sold out. Luckily there are plenty of other options left: organist Toon Hagen and Philine Coops who will perform the seldom performed piece Shadow Nor Prey, together with Hagen’s reaction to this piece: Going On.
There is a special version of the Canto Ostinato, Ten Holt’s best known work by Ivo Janssen (piano) and Vincent van Amsterdam (accordion).

Aren’t you able to come to the opening night? On Sunday the 24th of September Rondane Kwartet will play a combined program with music from Bach (a great inspiration to Ten Holt), Joep Franssens and a coupure of Lemniscaat from Simeon ten Holt.
And last but not least Sense of Music programs a solo concert by Ivo Janssen where he will play among other pieces Natalon in E and soloduiveldans I of Simeon ten Holt.

For the full music program, please check out the website

More about Rondane Kwartet, Ivo Janssen,

The Andriessen/De Klerk Festival 2017

In 2017 we are remembering that Hendrik Andriessen was born 125 years ago and Albert de Klerk 100 years ago. What better place is there to celebrate this than the city where both these prominent musicians were born: Haarlem.

From 15 September until 3 October 2017 the centre of Haarlem will reverberate to the music by these two composers. Musicians from home and abroad will perform in several churches and concert halls in a wide ranging programme of chamber music, piano and organ music, songs, oratorios and choral works. All of these composed by Hendrik Andriessen and Albert de Klerk of course.

And there is more. Louis Andriessen, Hendrik’s world famous son, has composed a new composition for organ commissioned by the festival. There is also a an exhibition to be seen about the lives of both Hendrik Andriessen and Albert de Klerk in Museum Haarlem. And there is a plaque that will be unveiled at the houses where both composers were born and there is an accompanying book written especially for the festival. These are just a few activities which will take place during the festival.

Donemus is publishing some unpublished works and will also republish some works that were still in a copy of the manuscript. Especially his opera ‘THE MIRROR OF VENICE’ that will be performed on September 26 and 27!
Hendrik Andriessen wrote this one-act comic opera in 1963/1964 for the ensemble of the Dutch Opera and it was intended to be broadcast on television. In 1967 the television compnay KRO broadcast this ‘musical tableau’ which was recorded in the castle Muiderslot near Muiden. Since then the opera has not been performed in its enirety. The opera takes place in 1630 in the Muiderkring [Muider society] a company of aristocratic art connoisseurs. For composer Dirk Sweelinck (the oldest son of Jan Pieterszoon) is this Muiderkring just a load of amateurs and rich snobs.

More info

Annual International Young Composers Academy

Davo van Peursen, managing director at Donemus, will present a condensed version of Donemus Academy (described above) in two sessions, on August 30 and September 1, for the participants of the 7th Annual International Young Composers Academy in Tchaikovsky City, Russia… 

In addition, Yannis Kyriakides and Dmitri Kourliandski, both guest professors at the Young Composers Academy, gave several group lectures on music and multimedia, as well as daily composition lessons. His Karaoke Etudes will also be performed by Moscow Contemporary Music Ensemble during the opening evening on August 31.

More information about this event
More about Yannis Kyriakides

International Performances

We are very proud to announce that Donemus composers are being performed throughout the world! Here is a selection of some of our notable international performances… 

Donemus at Gaudeamus Muziekweek

Overwhelming minimal music, ringing soundscapes, experimental electronics, post-pop, and electro-acoustic crossovers: all of this can be heard from September 6-10 at Gaudeamus Muziekweek in Utrecht!… 

Rimpelingen” by Jan-Peter de Graaff will be performed by ASKO|Schönberg during the opening concert at TivoliVredenburg on September 6, and Maxim Shalygin will be ‘Composer on Stage’ on September 7. Next to the world premiere of Shalygin’sLacrimosa or 13 Magic Songs”, performed by Shapeshift, he will talk about his music and his sources of inspiration. In addition to this, Alexey Retinsky has been selected by the Keuris Quartet for a public reading session and workshop of a one-minute sketch, during ‘New Notes for Keuris Quartet’, in which the quartet discusses the sketch on stage with the composer on September 10.

More about the performance of Rimpelingen
More about the Composer on Stage event
More about New Notes for Keuris Quartet


Donemus Academy 2017

From October 23-November 27, the Donemus Foundation will hold the 2nd annual Donemus Academy for composers starting their career in the Netherlands. This year, we are happy to announce that November Music will collaborate with Donemus Academy, offering its participants a 50% discount… 

From October 23-November 27, the Donemus Foundation will hold the 2nd annual Donemus Academy for composers starting their career in the Netherlands. There will be lectures, workshops, and discussions to support composers develop professional skills in the field. During the course, six different topics will be discussed in detail: Author rights, Funding, Programming, Publishing, Score editing and layout, and Entrepreneurship.

This year, we are happy to announce that November Music will collaborate with Donemus Academy, offering its participants a 50% discount on select concerts, as well as a complementary lecture by composer Heiner Goebbels, and many other exciting opportunities and special offers. Click the links below for more information and/or to apply to this year’s Donemus Academy!

More information about Donemus Academy
Apply to Donemus Academy

If you have specific questions or would like to discuss payment plan options, you can email Heather Pinkham at

Recent projects Roland Kuit

Roland Kuit has been exploring and broadening the language of sound for over 25 years. On 23-06-2017, a special world premiere took place in the Kampa Museum – The Jan and Meda Mládek Foundation in Prague (CZ). With this three part work “Tactile utterance”, Roland succeeded in expressing the 50 years of painting by Tomas Rajlich… 


Sonologist- composer Roland Emile Kuit balances on the interface between research, music and sound art. The new listening.

Roland Kuit has been exploring and broadening the language of sound for over 25 years. In search of new forms of listening Kuit started to create synthetic environments of sounds in the ’90’s. Resulting in sound exhibitions in art galleries followed by publications in art magazines as l’Orbe and Avenue Magazine, Sound On Sound Magazine and WIRED. To free these sound concepts from the traditional speaker boxes Kuit began the transition of his sounds into installations. Visualizing sound. F.i. The Electroacoustic Domestic Pet and his cityscape Paris, a Centre Pompidou rebuild tubed speaker wall.

Roland Kuit started studying the flute and piano at the Royal Conservatory The Hague but very quick switched to study electronic music at the Institute of Sonology in the 80’s. With teachers as Gottfried Michael Koenig, Werner Kaegi, Stan Tempelaars and Jaap Vink.  Among analogue studio techniques, Roland learned to develop programs for algorithmic composition and digital sound synthesis.
The electronic possibilities in music and sound are infinite and were the right tools for Kuit. Analogue and digital modular synthesizers and the KYMA system, a super computer for sound, are the instruments for Kuit. Sound is typically a ‘time thing’. With this system, Kuit can influence the present by events that will happen in the future. And vice versa. This is called Time Warping. And where an acoustic instrumentalist can create twenty articulations per second, the Kyma can do a thousand. Real-time analysis of sound of acoustical instruments or other sounds can be done perfectly with the computer algorithms, creating composition possibilities that are very interesting in the spectral realm.

In his early years Roland made the connection between the other disciplines as painting, ballet, sculpture and architecture. In 1996, Roland Kuit composed ‘The Rajlich Concept’ for the painter Tomas Rajlich. A work for violin, viola, double bass and synthesizer. Archives Center Pompidou.

More about The Rajlich Concept

On 23-06-2017, a special world premiere took place in the Kampa Museum – The Jan and Meda Mládek Foundation in Prague (CZ). This in honor of the exhibition Tomas Rajlich: Zcela abstraktní retrospektiva, an overview of the work of Tomas Rajlich. For this occasion Roland Kuit composed a KYMA extended string quartet. With this three part work “Tactile utterance”, Roland succeeded in expressing the 50 years of painting by Tomas Rajlich. The new ways in composition and research of physical modeling in spectral music Roland had experienced at the IRCAM in Paris and the computer algorithms came together in this work.

Part 1: BRUSH, from a pianissimo-bowed wood sounds to noise, to an elaborated crescendo of 8 minutes ending in a broad fortissimo textural cluster. The KYMA system producing spectral echoes of the strings sounds.
Part 2: MAZE, when we look at a grid, we see first concentrated – to open – to condensed again. This goes for both horizontal and vertical. The string quartet interpreted the ‘intersections’ by means of percussive violin sounds.
These sounds as a type of particles copied 100 times with the KYMA system, resulting in a noise wall. A riterando to the center of the piece made that these particles could be distinguished as single sounds. Of these single sounds, Roland made “spectral pictures” that could be smeared as suggestions to complement the grid lines. Followed by an acceleration to prestissimo particles again.
Part 3: SURFACE, multiphonics morphing to airy flageolets. The KYMA system creates algorithmic multiplexed sounds and dissolving into a muffled softness.
The audience was captivated for 24 minutes by the music produced by the famaQ string quartet and Roland Kuit. An eight minutes standing ovation followed.

To celebrate the centennial of the founding of the art movement De Stijl (2017), Kuit created a triptych for Dutch radio station Concertzender.

More about the Triptych of De Stijl

Roland Kuit is a creative expert in De Stijl movement and electronic music.
We have a responsibility so see this with contemporary eyes and ears. To be radical as well with respect to the past. Kuit’s research started in the Mondrian house, House of Birth of the painter Piet Mondrian: Monads and Beyond. Together with the Dutch Light artist Karin Schomaker, researching Mondrian and movement in digital visual arts (2013).

All started with the special relationship between Piet Mondrian and composer – pianist Jacob van Domselaer. Between 1913 and 1917, Van Domselaer composed Proeven van Sijlkunst (Samples of Style in Art, for piano, 1916). The first combined relation between the horizontality and the verticality in music. Relating to the passivity and activity. A static balance. The tension lies into the metre, the perpendicular element. Supplemented by quasi-chaotic tone clusters.
Between 1950 and 1955, the Belgian composer and founder of the musical serialism Karel Goeyvaerts, managed to broaden this principle of the standing sound structures. Goeyvaerts stacked electronic created sinus tones on each other as sound objects. Additive synthesis. 
CAHIER-M published by the Dutch composer Dick Raaijmakers (2000) is about the morphology of electric sound. This inherently single-layered type of sound is discussed in the light of ‘neo-plastic’ music as suggested by the painter Piet Mondriaan in the 1920’s. He advocated a kind of music that consisted of single-layered, ‘single-colour’ electric sounds.

Roland Emile Kuit invented sound and elaborates upon this. He engages in research as a ‘sound architect’. Kuit constructed between 2010 and 2017 virtual electronic systems where spectral chaos was converted to serial sound constellations. Sounds that are captured at the atomic level and reduced to algorithmic trajectories. He used pure tones to create spectral building blocks. This means stacking energies to build harmonic sound planes. The diagonal aspect is obtained by phase differences. The spatial modus is setting this weighed points conscientiously in space to divide this spectrum and display it on a speaker maze.

On 9 July 2017 the World Premiere of Rietveld Pavilion took place in the sculpture park of the Kröller-Möller Museum in Otterlo. The Netherlands.
With this work, Kuit makes a connection between De STIJL constituted ideas, architecture, and today’s art.

Kuit’s 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 technical association made him write his books about combined synthesis techniques. Lecturing at diverse universities and creating radio programs about electronic music giving him a platform to discuss his conceptual worlds. 
Roland Kuit performs on concert stages, art galleries and museums. 
His books about research in modular synthesis techniques, music and sound art are published by Donemus, Publishing House of Dutch Contemporary Classical Music.

More information about Roland Kuit
Website Roland Kuit


Highlighted Concerts: Vladimir Martynov, Joey Roukens & Patrick van Deurzen

This Summer, there will be interesting concerts with new music from Vladimir Martynov, Joey Roukens and Patrick van Deurzen… 

Vladimir Martynov

From June 25-27, Vladimir Martynov’s opera, ‘The Exercises and Dances of Guido‘, staged by Georgy Isaakyan, will be performed at the Moscow Youth Music Theater. The opera concerns modern music notation systems founded in 10th and 11th centuries by a Benedictine monk, Guido d’Arezzo.

More information about this event

On July 19 and 20, the world premiere of the theater adaptation of Hemingway’s great novel, ‘The Old Man and the Sea’, will take place at the Vakhtangov State Academic Theatre in Russia. The play was commissioned by the International Tchekhov Theater Festival. Following the world premiere, there will be a second set of performances, on September 30 and October 1, also at the Vakhtangov Theatre. The stage direction, adaptation of the novel, and set design is by Anatoly Vassiliev, with music performed by Ensemble Opus Posth. The piece is dedicated to the centenary of the birth of renowned Russian conductor, Yuri Lyubimov.

More information about this event

On July 23, Vladimir Martynov is a guest of the Festival Assisi Suono Sacro (Italy) for a composer portrait at the Cattedrale di San Rufino in Assisi. The program’s high-point will be the world premiere of ‘The Beatitudes‘ in the version specially made for ensemble Assisi Suono Sacro, with Martynov at the piano.

More information about this event



Joey Roukens

On July 5, Joey Roukens’ orchestral piece ‘Morphic Waves‘ will have its Italian premiere in Rome with the Orchestra dell’Accademia Nazionale di Santa Cecilia under the direction of Kristian Jarvi. The concert will take place during the outdoor summer festival, Luglio Suona Bene.

More information about this event

More about Joey Roukens



Patrick van Deurzen

Patrick van Deurzen’sCimbalom concerto‘ was premiered April 29, 2017, with great enthusiasm and success. The 6th concerto in the Rotterdam Concerto Series at De Doelen, the concerto was inspired by the novel by Italo Calvino, Invisible Cities, and features the unusual instrument, the cimbalom, as soloist. Recordings were made during the rehearsals and concert, and you can watch the trailer below to see highlights of the concert, as well as see fragments of interviews by the composer, conductor Conrad van Alphen, and soloist Jan Rokyta.

Watch the trailer

More about Patrick van Deurzen

Mahler, Symphony X

Complete Chronological Transcriptions of the Sketches, Short Scores and Orchestral Drafts of Gustav Mahler’s Symphony Nº X, edited by Frans Bouwman, now published by Donemus!
This transcription endeavors to provide an insight into the chronology of Mahler’s notation, to help clarify the development of Mahler’s own ideas and thus provide a scholarly grounding upon which future editors may base their editorial (and possibly compositional) decisions. Presented here for the first time in its entirety, it 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.

Why this transcription?
Seven fully-fledged performing versions of Gustav Mahler’s unfinished Tenth Symphony have now been published, all of which have been commercially recorded at least once. These efforts, together with recent books and articles on the subject, indicate an unabated interested in Mahler’s unfinished Tenth Symphony. This transcription endeavors to provide an insight into the chronology of Mahler’s notation, to help clarify the development of Mahler’s own ideas and thus provide a scholarly grounding upon which future editors may base their editorial (and possibly compositional) decisions. Presented here for the first time in its entirety, it 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.

The present edition consists of three volumes:
Volume 1 presents chronological transcriptions of the orchestral drafts; occasionally, owing to lack of space in the supplementary Volume 2, Volume 1 also presents segments of the short scores.
Volume 2 is the supplementary volume, which contains the earlier stages of composition, plus chronological graphs of all the known manuscript material.
Volume 3 (i.e., the present volume) contains:
• Tables with descriptions of the manuscript pages.
• A detailed commentary about discrepancies among the sources, following the layout of the latest compositional stage (the orchestral draft, unless otherwise noted).

Reading the manuscript
The purpose of this edition is to present Mahler’s notation without editorial bias. The symphony was composed at great speed – the entire body of the manuscript was probably amassed in less than three months – and in the process of moving from preliminary sketches to increasingly elaborate drafts Mahler was not always precise, relying on experience to clarify some passages at a later stage (which would occasionally entail the crafting of necessary and appropriate counterpoint).

The most frequent difficulties in deciphering the manuscripts concern the legibility of the written pitches. Generally there are two types of problems:
• A clearly legible note that is apparently wrong.
• An ambiguously legible note that could be either right or wrong.

This edition does not eliminate seemingly obvious mistakes: it accurately presents what is evident in the manuscript and problematic places are discussed in the ‘Detailed commentary’.

Scholar Edition (three books) is available for € 202,50 (excl. VAT)

The Luxury Edition is available for € 285,00 (excl. VAT)