“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)
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)
Composer and monk Kris Oelbrandt osco wrote a one hour during chamber oratoria on lyrics of Beatrijs van Nazareth. The world premiere will be exactly 750 years after her death in 1268 at the same monastery of Brecht that rarely opens its doors…
Beatrice van Nazareth, a Cistercian nun of the 13th-century Flemish abbey Our Lady of Nazareth, wrote the “Seven Manieren van Minne” (Seven Ways of Love), an intriguing and mystical text, carefully composed and full of new ideas. She distinguishes seven feelings in her love to God: desire, rest, heartache, joy, storm, peace and union. It is a unique text in the history of mysticism because of its clarity.
Kris Oelbrandt, who lives at the abbey of ‘Koningshoeven’, composed music on these lyrics. The work is written for mezzo-soprano, violin and harp. The performers are Els Mondelaers, Johan Olof and Liesbeth Vreeburg.
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.
An orchestral overture ‘ At The Gate’ by Michael Fine will be performed in Mexico in the philharmonics regular subscription series.
‘This orchestral overture has nothing to do with airports…
‘This orchestral overture has nothing to do with airports, though my friends may easily make this assumption due to the peripatetic nature of my work, but rather the beautiful gate at Deoksugang Palace in Seoul. Although surrounded by modern buildings, the Gate opens to the graceful and elegant palace grounds taking one back to another Korea before western influences. The overture reflects both worlds but ends in the distant past or at least the way I imagine it was.’(Michael Fine)
The new composition “Sutartines” for violin solo and string orchestra was commissioned to Olga Victorova by the Lithuanian chamber orchestra and its artistic director, famous violinst-virtouse Sergey Krylov. The piece is based on Lithuanian folk songs, taken from a book by Z. Slavjunas “Sutartines, Polyphonic chants of Lithuanian folk”….
“Sutartines” is to be performed without a conductor. A soloist moves freely on the stage while performing and playing Lithuanian sutartines to different orchestra groups that repeat the themes canonically.
The Lithuanian Chamber Orchestra and its Artistic Director and Conductor violinist SergejKrylov (picture) commence the celebration of the centenary of the re-establishment of Lithuanian statehood, which will be widely celebrated in the country.
Olga Victorova’s huge oratorio “Exodus” will be premiered in Nantes on February 3 with 2 more upcoming performances.
Teodor Currentzis will conduct the ‘Salve Regina’, part of the ‘Marian Antiphons’ composed by Alexey Retinsky.
On February 8 at the Moscow Conservatory with the famous Choir “Musica aeterna”…
The MarianAntiphons were commissioned by the conductor OlgaPrykhodko, with financial support of the Institute of Religious Sciences St. Thomas Aquinas in Kyiv. The cycle is dedicated to the 800th anniversary of the Dominican Order (Ordo Fratrum praedicatorum). The First recording was made by Ensemble Alter Ratio in 2017.
The joy of working on Marian Antiphons consisted in the fact that I only had to create favorable conditions for a future tree like a gardener, almost impartially watching him grow independently. Everything else was due to the fruitful soil of the prayerful Latin texts, every moment being ready to let a seed-sound die to be further born again. (Alexey Retinsky/2016)