“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)
Donemus and the board of the Olivier Greif Association are proud to announce their new and exciting collaboration for an extensive amount of works by Olivier Greif (1950-2000), resulting from three years’ work by engraver, Anne-Elise Thouvenin….
Thus, an important number of vocal works from the youth period such as Saltimbanques and Chanson de Gaspard Hauser but also from the latest period like the Three settings of Musset, are to be published soon.
Will also come out, some of the chamber music repertoire as well with the opuses 301, The Tailor of Gloucester and 320, Ritournelle for wind quintet, just to name a few.
Among them, the Danse des Araucans op.89, freshly created by the Olivier Greif Ensemble, to discover here:
The Olivier Greif Ensemble founded four years ago by Anne-Elise Thouvenin and based in The Netherlands, works as ambassador of Olivier Greif’s music, discrete but fascinating French composer of late twentieth century. A composer whose music seems to be made for the listener to get lost in the detail of works that look like deliberately heterogeneous mosaics, constantly nourished of references. According to Anne-Elise, whatever the score by which one reaches the world of Olivier Greif, the effect produced by his music is always the same: one wants to know more about the man and his work, in a straight line of Britten and Shostakovich.Together with her colleagues, VictoriaDmitrieva and JesusJiménez, they not only perform his trio and sonatas – today recognized as Masterpieces – but they’re also engaged to create and record the other works of this very large catalogue (around 300 opuses).
Ralph van Raat and 3 students, Christos Papandreopoulos, Paolo Gorini, Pierre Delignies Calderón will give a concert on March 4th at the Doelen with many Dutch contemporary piano works…
16.00-17.15 uur: Part I: Ralph van Raat and students Willem Pijper Sonate voor 2 piano’s Jakob van Domselaer Proeven van Stijlkunst (part IV) PeterSchat Anathema Louis Andriessen Nuit d’été Louis Andriessen Haags Hakkûh Stukje Jakob van Domselaer Proeven van Stijlkunst (deel V) Rudolf Escher Arcana – suite voor piano solo
Red Sofa-discussion with the soloists (Jurriaanse Foyer)
18.00 uur: Red Sofa Tafelmuziek: dinner at the Stadsbrasserie (à € 32,50)
20.00 uur: Part II: Ralph van Raat Andries van Rossem Carillon TheoLoevendie Strides Louis Andriessen Opus 1: Rondo Louis Andriessen Prospettive e Retrospettive Hans van Sweeden Drei Nachtstücke in memoriam Georg Trakl Heather Pinkham Diamonds in the Mud (world premiere) Louis Andriessen Image de Moreau TheoLoevendie Walk – Joep Franssens Between the Beats TheoLoevendie Theme and Three Looks at ‘Happy Ted’ (world premiere) VanessaLann Second Nature voor piano four hands (*)
* with Kamelia Miladinova
From February 21 till March 30 you can visit the ‘Goeyvaerts Exhibition’ at KADOC in Leuven. Twenty five years after his death. In 1951 he wrote the first real serial music composition…
Composer Karel Goeyvaerts died in 1993 a few months before his seventieth birthday. Twenty-five years later, his biography still reads like a novel. If the name Karel Goeyvaerts rings a bell abroad, it is because in the summer of 1951 when he captured the now legendary Ferienkurse für neue Musik in Darmstadt with the first pages of integral serial music. He thus made an indelible mark on the post-war avant-garde. Nevertheless, seven years later he would work as a Sabena agent at the World Exhibition in Brussels. Around that time he stopped composing for a while, and finally, in the last decade of his life, he returned to his composition activities with his opera Aquarius…..
The Bochumer Symphoniker will perform the ‘Recorder Concerto’ of Willem Jeths, this time with Stefan Temmingh as soloist. On March 4 at the large hall of the ‘Anneliese Brost Musikforum Ruhr’ in Bochum….
Erik [Bosgraaf] came over to my place a few times to play things through. He also played a number of different recorders to me. These included a sixteenth century renaissance recorder by Silvestro Ganassi. That instrument is more powerful than the more common baroque variant, so I composed my concerto specifically for the Ganassi recorder.’ As the composition progressed, Jeths was increasingly captivated by what he calls the “essence of the instrument”. ‘To me, the sound of the recorder represents innocence and fragile purity. I had to give the soloist enough scope to let him put these qualities across to the best possible effect. My orchestration is therefore deliberately thin. The orchestra plays a subservient part in this piece so that the soloist can emerge in the limelight.
Four Donemus composers: Kourliandski, Victorova, Karmanov, and Khubeev, will be performed at the prestigious music festival in Omsk (Russia)….
In March there will take place the 5th New Music Festival in Omsk (Russia). The driving spirit and artistic leader of the festival is Dmitry Vasiljev, chef-conductor of the Omsk Philharmonics Orchestra. The main attention in the program goes for fresh tendentions and music innovation. Amongst the festival’s premieres will be the special written for the festival ‘The Age of Eternal Expectation’ for orchestra by Alexander Khubeev. Further on the program ‘Forellenquintet’ by Pavel Karmanov, ‘Oi, vo pole’ and ‘Toccata & Canzone’ by Olga Victorova and ‘Riot of the Spring’ by Dmitry Kourliandski.
On March 10 the Jussen brothers will give the world premiere of Joey Roukens – In Unison in the Concertgebouw in Amsterdam. With the Radio Filharmonic Orchestra and conductor Emilio Pomàrico. Unison was commissioned by the NTR ZaterdagMatinee for the Jussen brothers as soloists…
Before I started composing, I listened to their CDs and was struck not only by the sparkling brilliance of their playing, but also by the fact that they sounded perfect as a duo. Gradually, the idea arose to write a double concerto in which the two soloists would not sound as two separate soloists, but as if they were as one super pianist on one super piano. This means that there are many unison passages (both pianos having exactly the same notes) in the piece. In any case, the unisono is an element that often pops up in my work, perhaps a legacy of the “Dutch musical tradition.” My plan was to go for the classic design in three parts (fast-slow-fast). While I was working on the piece, I was in a period when I played a lot of Italian baroque concertos on the piano, and something of that pianistic style might be heard in the solo parts in this piece.
Robert Nasveld together with Ton de Leeuw and Douwe Eisenga in the concert called ‘Time out! by the ‘Utrechtse Studenten Cantorij’ on March 18, 23 and 24 in Soest, Utrecht and Middelburg. World premiere of the new version of the composition ‘My wife and I’ based on hotel reviews presented at Bol.com by funny Google translations….
Robert Nasveld wrote the composition Me and my wife (2012/2016) for five and six part choir alone.
Commissioned by the Fonds Podiumkunsten for the Utrechtse Studenten Cantorij, conducted by Fokko Oldenhuis. World premiere April 20, 2013 in the Nicolaï Church in Utrecht within the frame of the Peace of Utrecht. World premiere of the a cappella version March 23, 2018 in the Academiegebouw, Utrecht.
Me and my wife was originally written for accordion, harp, percussion and mixed choir and consists of three songs. The texts are reviews about hotels and restaurants, found on the internet and are only in Dutch (see Dutch page).
The occassional combination of chorus with accordeon, harp and percussion has the disadvantage that the number of performances will be limited. The transcription for five to six part unaccompanied chorus was possible because of the strong independent role of the choir.
The same concert will have a performance of ‘A settee heure du jour’ of Ton de Leeuw and a new work by Douwe Eisenga.
Valery Voronov (Germany) – Kanchenjunga (The Five Treasures of the Great Snow); The great elegy for viola and large orchestra
and Alexey Sioumak (Russia) – King Lear; for string quartet, percussion and string orchestra, have both a world premiere at the XI international Winter arts festival in Sochi…
‘King Lear’ by Sioumak will be performed by Jury Bashmet and ensemble Moscow Soloists at the gala-opening concert of the festival in Winter Theater.
On February 20 and March 2 the new Cantata of Luc van Hove will be premiered in Leuven. The work was commissioned by Luca School of Arts, campus Lemmens in Leuven, Belgium. The cantata opus 54 refers to the former religious and spiritual meaning of a cantata….
The composition reflects on the notion humanity, whether or not supported by religious belief. Four different texts out of three different traditions are put to music: Psalm 22 (Old Testament, in Latin), the Beatitudes from Matthew (New Testament, in English), and two small texts from the Zen-Buddhist tradition (one set to music in an ancient Shino-Japanese language, the other also in English).
The fragment of Psalm 22 depicts man as being thrown on earth surrounded by violence and cruelty. Against that, the other texts show ways for compassionate human behavior, and respect for human life itself.
The composition is written in one movement, though the four different texts mark different characters and tempi as well. The music is predominantly slow and introspective, only interrupted by the faster and more energetic music of the Psalm.
The starting point for my composition was again this Psalm 22, which I already put to music some years ago, then for an a cappella choir. I wanted to create, against the dark and hopeless sentences of that text, a more hopeful perspective for human behavior. The current, ongoing crisis for so many refugees clearly instigated me to write the music.”
(Luc van Hove)
The Riot of Spring for tape and orchestra gets numerous performances at outstanding concert venues, including Verona, Lyon and Omsk. After being performed in Russia, Germany, Spain etc, this work will have 3 other performances in February. The score consists of just 2 pages of text. But the effect on the audience is very appealing…
In my “The Riot of Spring” I question myself: “What is folklore today? What bears today the energy of the collective unconscious? Is it destructive or neutral for the elite post-postmodernistic consciousness? Is it compatible with the academic concert situation?” The answers to these questions I try to find in turning to the rave culture, to the electronic music – dubstep, idm, d&b. This is not an attempt to imitate the existing genre, not an “away match”, but a rave prepared by the composers’ perception and, not to a lesser extent, an experience of the composer’s perception preparation by the rave. I decided consciously not to synthesize new sounds, working with sound samples the way composers worked with folk or, to go deeper, with ready instrumental sounds and timbres in the European tradition. However, the structuring of the material follows the logic I used while working with a more familiar to me instrumental material. Trying to define the genre of “The Riot of Spring” I’d derive a term “technoballet”, or “electroballet”. At the same time, it is evident that the words “riot” and “spring” are full of connotations with the actual situation in Russia. I’m quite far from the politics, however, the situation we live in directly or indirectly influences us, induces to act or to reflect.