“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)
At the second concert in a series devoted to Shakespeare’s The Tempest on Feb. 17 in De Doelen in Rotterdam mezzo-soprano Cora Burggraaf and the Doelen Ensemble will premiere Elmer Schönberger’s vocal cycle Caliban sings – three songs for the alleged ‘monster’ in Shakespeare’s play…
At the second concert in a series devoted to Shakespeare’s The Tempest on Feb. 17 in De Doelen in Rotterdam mezzo-soprano Cora Burggraaf and the Doelen Ensemble will premiere Elmer Schönberger’s vocal cycle Caliban sings – three songs for the alleged ‘monster’ in Shakespeare’s play. Only in the third song, ‘Be not afeard, the isle is full of noises’, Caliban is free of anger and becomes engrossed in soft canons, distant sounds and sweet mandoline tunes.
The program also features two new ensemble pieces by Schönberger: Variations on Richard Farnaby’s Nobodyes Gigge from the Fitzwilliam Virginal Book (ca. 1600) and Solemn and strange music. The latter was named after the imaginary music sounding during a fairy-like Tempest scene when ‘strange Shapes’ bring in a banquet.
The concert opens with an ad hoc arrangement of the Tempo impetuoso fromVivaldi’s Concerto no.2 in g minor, Op.8, RV 315, ‘L’estate’.
Donemus Publishing has finished its 4th year after the restart. Sales, rentals, licenses and concerts have all increased slowly but steadily over last few years. We’re happy and honored that the music of our composers is so present in the musical life in many countries….
Our sales and rentals reached musicians in 50 countries. Last year music was sold from more than 70% of our composers. And orders contained the complete range of the most early compositions to the latest additions.
The royalties we pay to our composers has nearly tripled compared to the first year. We thank all our composers for their trust in our team. Last year Giel Vleggaar, Julia Juraschewski and Heather Pinkham have joined our team.
The new year has many great projects ahead. Operas, ballet-performances, many world premieres. Donemus Publishing has signed a contract with neoScores® and an addendum to our contract with the Digital Score Library of Alexander Street Press. And a few more exciting projects are in the pipeline!
The Toronto Symphony Orchestra, combined with the musicians of the Toronto Symphony Youth Orchestra, will join forces to perform the world premiere of Eruption, by Dutch-Canadian composer Edward Top, on January 24th at the NAC Southam Hall in Ottawa, Canada. The work was commissioned by the TSO/TSYO, with support from the Department of Canadian Heritage, for the occasion of the 150th anniversary of the Confederation of Canada in 2017…
The Toronto Symphony Orchestra, combined with the musicians of the Toronto Symphony Youth Orchestra, will join forces to perform the world premiere of Eruption, by Dutch-Canadian composer Edward Top, on January 24th at the NAC Southam Hall in Ottawa, Canada. The work was commissioned by the TSO/TSYO, with support from the Department of Canadian Heritage, for the occasion of the 150th anniversary of the Confederation of Canada in 2017. Two more performances will follow, at the Maison Symphonique de Montréal, and the Roy Thomson Hall, in the Canadian cities of Montréal and Toronto, respectively. All three performances will be conducted by Toronto-born TSO Music Director, Peter Oundjian.
Top says of his composition: “This piece in itself is an eruption, a celebration of the intense outbreak of youthful vigor, capturing a tour de force of speed that does not diminish for the entire duration. It is the raw and unrestrained crest of musical heights that is captured in the fleeting moment of an eruption. The idea came about when, by chance, I discovered a striking similarity between cadences in the Ars Nova style, a French medieval musical style, compared to power chords of the modern-day Heavy Metal genre, where the use of parallel perfect fifths plays a pivotal role in its unmistakable sound.”
The Nationale Opera & Ballet will hold its third annual Kinderkorenfestival on January 29th. This day offers an introduction to the art of opera through workshop games, movement, and theater, and the participants also get a look behind the scenes. During the Grand Finale, the children’s choirs will come together on stage with a new work, Plastic Soep, commissioned by the education department of the Nationale Opera & Ballet…
The Nationale Opera & Ballet will hold its third annual Kinderkorenfestival on January 29th. This day offers an introduction to the art of opera through workshop games, movement, and theater, and the participants also get a look behind the scenes. During the Grand Finale, the children’s choirs will come together on stage with a new work, Plastic Soep, commissioned by the education department of the Nationale Opera & Ballet. This work, which is about the plastic pollution of the oceans, was composed especially for the occasion, with lyrics by Robbert-Jan Henkes and Erik Bindervoet, and music by Micha Hamel. The direction is in the hands of Marleen van der Wolde, and the musical direction is by Michiel Rozendal. Parents and interested parties are cordially invited to join in the experience with this festive finale.
A quote from the poem can be found below:
De zon gaat op, de zon gaat onder
En wij varen door een zee van wonder
Van flessen en tasjes en speeltjes en doppen
Van ringen van six-packs en rompen van poppen
Van kratten en tubes en netten en petten
Van pennen en plakband en plastic boeketten
Wij varen in een ouwe sloep
Door een dikke plastic soep
Plastic soep, plastic soep, plastic soep
Tot aan de horizon plastic soep
Alles bedekt door plastic soep
With the premiere of her ‘Stap Verder’ and her ‘Dancing to an Orange Drummer’ at the educational project ‘Heartbeat’ Vanessa Lann has many performances these months….
Stap verder (world premiere)
The African hocket technique of ‘one player, one note’ was the inspiration and structural basis for Stap verder. In the ensemble music of many African communities each instrument produces only one tone. Each musician is responsible for voicing that tone, and only that tone, using the unique sound and character of his or her instrument. This reflects how the role of the individual in these societies is perceived. The Ngumi proverb ‘Umuntu ngumuntu ngabantu’ means that an individual “exists” only through contact with other persons in the community. Similarly, in this type of music (just as in Stap verder) a melody becomes discernable only when each player grows aware of the contribution of every other player. However simple, each person’s musical gesture is significant; without the participation of each member of the group, no music can happen.
Emma Lazarus’ immortal text (engraved on the Statue of Liberty in NY) – “Give me your tired, your poor, your huddled masses…” – also mirrors the belief that a society cannot successfully exist without recognizing the voice of even the smallest individual. – Vanessa Lann (October 2016)
HeartBeat is an educational dance show by the dance compay Project Sally and conducted by Peter Biloen. It is a show for middle-school students about a boy who can’t find his heartbeat. He stands outside the rest of his community without joining in. The Philharmonie Zuidnederland plays music by Bach, Beethoven, Michael Gordon, Ginastera, and Dancing to an Orange Drummer, by Vanessa Lann. The dancers and a spoken word artist tell the story of the boy, who eventually finds his heartbeat, joins in and even conducts the orchestra. Lann’s music can also be heard in short pieces (called “In a HeartBeat”) for various players in the orchestra which connect the scenes of the show, and change for every performance. Following a successful 10 performances in 2016, HeartBeat will be performed another 7 times in 2017!
Dutch composer Douwe Eisenga has been invited by one of the leading Russian contemporary music performers – Moscow Contemporary Music Ensemble (MCME) – for a collaborative project which results will be presented at important venues of Moscow (on December 21 at Multimedia Art Center) and Nizhny Novgorod (on December 22 at NCCA Arsenal)….
The concert in Moscow will be a part of the popular concert series MAMMusic Contemporary of the Moscow Multimedia Art Center. Russian public has got acquainted with the music by Eisenga in March 2015 at the first concert of the series MAMMusic Contemporary and appreciated it very much. Specially for MCME and the Russian tour Douwe Eisenga is making a full-evening program without an intermission, a kaleidoscope of his best existed and new chamber works. For the video-part of the program which will play an important role, the composer collaborates with the Dutch video-artist Gijs Haak. For the light design the Moscow venue has engaged the Russian light-artist Elena Perelman.
Music by Eisenga is a hypnotize realization of neo-baroque minimalisme as it has been described by the Russian venues. Before the concert Douwe Eisenga will give a lecture about minimalism in music in general and tell about his own works and projects.
21 December 19.00 Multimedia Art Center, Moscow gfсм
Korzo will host The Night of the Second Hague School, and the entire theatre will be given over to dozens of musicians, ensemble Modelo62 among them, performing in every nook and cranny, including the loading bays, concert halls, rehearsal studios and even in the office spaces….
Concerts and happenings will include a portrait concert dedicated to Kate Moore with large ensemble pieces, and Ensemble Klang will play the long-awaited reprise of Oscar Bettison’s now classical ‘bluegrass requiem’ O Death.
On initiative of the internationally recognized conductor Teodor Currentzis, music director of the Perm Opera & Ballet Theater (Russia), Russian composer Alexey Sioumak has got a commission for a new opera, a music mystery. Opera ‘Cantos’ will get its premiere on December 6th at the Perm Opera Theater….
Cantos ( ‘songs’ in Greek) was inspired by the biography and works of the American writer Ezra Pound (1885—1972), one of the founders of modernistic literature, who has written a work under the same title ‘Cantos’. In Cantos one comes across many languages, including Greeks, Spanish, Latin as well as meta-language, lots of allegories. Specially invited to stage the opera, a well-known Russian stage director Semjon Alexandrovsky is one of the founders and ideologists of Pop-up Theater in St. Petersburg, developer of so called ‘documentary theater’.
Teodor Currentzis has asked the composer to create something special, unknown till now for the music world for a not expected line-up, like violin and choir instead of expected orchestra.
‘I was impressed by the attempt of Ezra Pound to realize something like Babylon Tower from different languages. Also interesting was his positive attitude to the contrarily political directions: from Rooseveld to Hitler. Pound saw the politics as a funny game. He was put into a prison by Americans, into a open air cell, and everyone who walked along watched him. Pound gave then a vow of silence. Pound was an Artist, which was seen as insane, mysterious, whose vision no one could share.
Violin solo plays a role of the Artist, who has given a vow of silence and can say something only by not-distingue sounds. Other participants of the opera are a choir (musicAeterna) and percussionists, at the end electronics plays an important role as well.
Opera Cantos is not the first collaboration of Teodor Currentzis and Alexey Sioumak. In 2008 together with famous Russian theater stage director Cyrill Serebrennikov at the contemporary arts festival ‘Territory’ was staged the opera ‘Station’ at Vinzavod, Moscow. In 2010 at Tchekhov Theater Moscow the same artistic team has showed a theater version of ‘Requiem’ by Alexey Sioumak, a time manifest dedicated to the WWII victims.
These websites provide more Russian information about Cantos:
Alexei Lubimov, a celebrated Russian pianist, famous for promoting new music from the very start of his brilliant career, has been invited by Winteravonden aan de Amstel festival to perform Russian music in the Hermitage Amsterdam…
Promoting new music in the Soviet Union was certainly not appreciated, so for many years he was prohibited to leave the country and perform abroad. On Sunday December 11th he will get the Dutch public acquainted with the most popular and beloved contemporary Russian composers – Vladimir Martynov and Pavel Karmanov in the program ‘Dances on the shores of the Lethe’.
Lubimov will also play ‘Solo devildance IV’ by famous Dutch composer Simeon ten Holt, whom he is actively promoting to his audience in Russia and abroad. ‘The Beatitudes’ written by Vladimir Martynov on request by Kronos Quartet for two string quartets, will be performed by Dudok Quartet and Dostoyevski Kwartet.
And in the meantime, Canto Ostinato by Simeon ten Holt has been recently performed in Russia by the Dutch piano quartet Rondane Kwartet in Svetlanov Hall of Moscow International Performing Arts Center, better known as Dom Muzyki. Almost at the same time, Canto Ostinato can be heard in New York on the famous choreography by Lucinda Childs (7 performances at the Joyce Theater).
Boudewijn Tarenskeen’s composition ‘Winterreise’ is a contemporary interpretation of, and commentary on, the vocal recital. This genre has roots in the 19th century, with Schubert’s song cycle Winterreise as one of the high points. ….
With Tarenskeen’s composition, the “Lieder” become songs, the poetry turn into lyrics, and the recital becomes a performance. A battle between singer and pianist, staged by Gerardjan Rijnders.
Schubert’s hero tells of his long, winter journey. He is a rejected lover full of romantic sadness and longing for death. Wende: “An adventure that tells poetically about loss, transience, death, love, and acceptance.” Tarenskeen’s composition translates those emotions into contemporary life and thereby sheds new light on the original work. He will sing his score, crying, scrubbing, dancing, hammering, and whispering.
Three more performances in 2016:
December 2, 2016 – Goede Rede, Almere
December 7, 2016 – Theater aan het Spui, Den Haag
December 14, 2016 – National Sawdust, New York