On Friday, January 11th, the Donemus Foundation welcomes composers, musicians and other music friends at the Hague Tower.
Enjoy the view, meet your friends.
A time to reflect on 2018
and discuss our ambitions for 2019…
On Friday, January 11th, the Donemus Foundation welcomes composers, musicians and other music friends at the Hague Tower.
On November 29th and 30th the ensemble Norbotten NEO, conducted by Christian Karlsen will perform the complete cycle ‘Lantern Lectures’ by Klas Torstensson. The four volumes have over the past fifteen years been performed in a number of countries by ensembles such as Asko|Schönberg, Klangforum Wien, Ensemble Modern, Oslo Sinfonietta, KammarensembleN, Nouvel Ensemble Moderne and Sinfonietta Riga, conducted by conductors such as Etiënne Siebens, Koen Kessels, Lorraine Vaillancourt, Christian Eggen, Hans Leenders and Normunds Sne. Now in De Doelen & Muziekgebouw aan ’t IJ…
After having completed his opera The Expedition (1994-1999), Klas Torstensson felt a need to write music which was ‘lighter’ and of a smaller format. At the same time, he realised that he himself and his creative work would never be the same again after he had written an opera about Death and Love!
While working on the opera, he received commissions from several ensembles: Asko Ensemble (Amsterdam), Le Nouvel Ensemble Moderne (Montréal), KammarensembleN (Stockholm) and Klangforum Wien. He decided to write a cycle of works for all these ensembles – a cycle where every single work could be performed independently, and where each piece, when the cycle was completed, would function as a ‘movement’ in a larger whole.
The different ‘volumes’ are introduced by a ‘brass link’ for trumpet, horn and trombone. These ‘brass links’ can also be performed independently as Four Brass Links.
Volume I was commissioned by Le Nouvel Ensemble Moderne and has a bass drum as its main character, a bass drum which is played with brushes. The title Solid Rocks refers to the layers or stratas that can be found in the music: veins being forced into the flow of the music. Volume I was premiered in May 2001 in Montréal by Le Nouvel Ensemble Moderne.
In Volume II the division in layers is maybe even more striking. Moments of freeze are projected against an active, massive and percussive row of events. Raw surfaces opposed to playful gestures. This volume was commissioned by Südwestrundfunk Stuttgart, and it was premiered in February 2003 by Klangforum Wien.
As most of us know, the northern lights, the Aurora Borealis, do not produce any sound, despite myths telling the opposite. Several years ago Klas Torstensson received a recording of distorted radio waves, the distortion caused by the northern lights. These recordings were treated until he obtained something which he experienced as beautiful, multilayered electronic sound: the sound of the northern lights, if the northern lights had produced any sound!
In his opera The Expedition this sound plays an important role. In some of the parts of Aurora Borealis, he has transcribed and orchestrated one of the incoming layers for ensemble.
Volume III was commissioned by the Swedish Concert Institute and is dedicated to Göran Bergendal. Its premiere took place in Stockholm in February 2002.
Giants’ Cauldron – or potholes – are cylindrical holes in the bedrock of a glacier, created by rotating stones in the water running underneath the glacier. In this work, we hear musical loops rotating in a similar way.
Volume IV was premiered in the Festival Éclat in Stuttgart in February 2003 by Klangforum Wien.
“Propéven”, for violin and accordion solo, vocal ensemble, chamber choir, and spatially distributed orchestra, is written like a kind of Russian war requiem. The world premiere will take place in the Moscow Philharmonic by The State Russian Orchestra conducted by Vladimir Jurowski in November 2018. Filanovsky has previously composed works inspired by Filonov’s paintings: his work “Polyphonion” (concerto after Pavel Filonov’s “Formulas” for extended violin, accordion and 6 instruments) has been highly appreciated by local critics as truly equivalent to Filonov’s “analytic art” as a method. In June 2003, “Polyphonion” won Irino Prize for Chamber Music (Tokyo). It was performed also by Avanti! Chamber Orchestra, Nieuw Ensemble, Ensemble 2e2m and Ensemble UnitedBerlin.
The premiere of this will now take place at the 6th International Festival of Actual Music “Another space”…
“…I met this one artist and asked him if he was going to war. “I am already at war” he answered “only it is a war to conquer time, not space.” I crouch in my trench and grab scraps of time from the past. It is a rough assignment, just as bad as you would have in a battle for space.” He always painted people with only one eye. I looked at his chokecherry eyes, his pale cheeks… This painter (Filonov) painted a feast of corpses, a feast of vengeance. The dead ate vegetables in a solemn ceremony, and over them all, like the ray of the moon, shines a grief-stricken madness.” (Velimir Khlebnikov, “Ka”)
One hundred years ago, World War I set an end to the old Europe. The painter and poet Pavel Filonov experienced this war as a soldier and died of starvation in 1941 during the German Siege of Leningrad. Like no other artist in Russia and probably the world, he managed to illustrate the World war with giant, dreadful frescos. Even though Filonov’s artistic vision expertly depicts the whole 20th century, his prophetic art is almost unknown. The cause of this scant publicity of Filonov in the Western countries might be that for more than fifty years until the late 1980s, Filonov’s paintings were prohibited or had a semi-legal status in Soviet Union. However, as measured by his historical significance, he is on a par with Malevich or Kandinsky, and he far surpasses them in terms of visual mastery.
In his canvases, produced around WWI, Filonov made his method of “analytic art” flourish. Nowadays, his century-aged experience is topical and necessary again. According to Filonov, the grotesque occurrences of the 20th century destroyed both humanism and the pursuit of beauty, such as “seid umschlungen, Millionen”. As an analyst and visionary, Filonov shows no mercy to his heroes and interprets war as natural state of living matter. This is a very special, relentless humanism by a first-hand witness and master of the visual medium.
“Propéven’ o Prórosli Miróvoi” (Throughchant on Woruld Sprouting, 1915), the only literary text written by Filonov, is one of the most outstanding work within the literature of Russian Futurism. The language of “Propeven” is a kind of literary summary taken by Filonov from his paintings, both created (The Kings’ Feast) and conceived at that period (The Man’s Rebirth, The Formula of Cosmos, The White Picture). The style of “Propeven” unites the futuristic “zaum’” (Russian dada), biblical narrative, and expressionism. Nowadays, Russian art critics characterize the Filonov’s manner as a “vast and rigorous non-figurative ‘overture’ of primarily visual level proceeding and and producing the figurative forms or archetypes” (Evgeny Kovtun). These “figurative forms” can be seen through “the bodies of human beings or animals,” which “are plugged into a worldwide power net” (Boris Grois).
A pathos of Filonov’s “analytic art” blazes also in the colossal tension of his word creation. “Propeven” is, in a way, absolute text about death and transfiguration, but in the same instance, a documentation of the epoch’s apotheosis of war and victory. It is so massive that Russian culture seemed to avoid it for more than a hundred years; in particular, Russian composers did not resolve to address it yet.
Music for “Propeven” has been conceived as building up the links missed in the Filonov’s “chain of arts”—a very remote version of the Gesamtkunstwerk Filonov was dreaming of.
Boris Filanovsky (translated by Claudia Gotta)
Boris Filanovsky (b. 1968) is one of the leading Russian composers, laureat of international competitions, author of two operas, symphonic, chamber, and vocal works, a master with an unusual manner. He often works on the boundaries of genres, as he does not preserve his soundscape but instead tries to regenerate in each new work. He belongs to very rare (in modern days) Stravinskian artistic type that places the form above the sound. Filanovsky actively deals with first Russian avant-garde in works.
On November 24th the Jenufa String Quartet will perform all three string quartets of Hans Kox at the concert series of “Cruquius Concerten’ in Amsterdam…
Hans Kox is one of the oldest living composers in The Netherlands. His impressive oeuvre covers the full range from solo works to operas. In 2016 the Jenufa String Quartet of his 3rd String Quartet. Ynske Gunning wrote in her review:
Voor wie de uitvoering van Kox’ derde strijkkwartet door het Jenufakwartet gemist heeft: wees er een volgende keer bij, want het is een mooi en spannend stuk… De vier musici voelen zich thuis in dit strijkkwaret, ze voeren het met zorg en precisie uit.
Het stuk biedt stroost van de schoonheid die zich er uiteindelijk niet onder laat krijgen. Muziek om vaker te beluisteren.
On Monday, November 19th, the Maat Saxophone Quartet will bring the world premiere of Adam Łukawski – Humors at SAX18 – New Music Festival Amsterdam, in Sweelinckzaal at 20h15…
The title of the piece by Adam Łukawski refers to the ancient proto-medical theory of temperaments in which 4 types of fluids/personalities were reasons for different behaviours in humans. In the work there are 4 characters: sanguine, choleric, phlegmatic and melancholic – each of them playing at their own tempo. They follow each other, by constantly changing the leader, in order to be able to keep the musical work (here: the metaphor of the human psyche and body kept in balance) going.
SAX18 is a classical saxophone festival hosted by the Conservatorium van Amsterdam. This time the focus will be on new music, with lots of premieres by a.o. the saxophone students of the CvA with special involvement of teachers Arno Bornkamp and Willem van Merwijk.
Humors at Donemus
Website of Adam Łukawski
More about SAX 18
After Smit Sibinga’s death, Everard van Royen, director of the Amsterdam Music Lyceum, praised him as a sensitive and skillful composer and “the beauty of the ancient civilization of the Indonesian archipelago which had influenced him during his twenty years in the tropics.
Now, 60 years after his death, a concert at Rode Hoed on November 24th will present some of his chamber music works…
Theodore Henri Smit Sibinga was born in Bandung and still a toddler when his family returned to the Netherlands. After high school, he started cello lessons with Bertrand Drilsma and Marix Loevensohn, and later with Gérard Hekking, the principal cellist of the Concertgebouw Orchestra in Amsterdam. Already at the age of seven, Theo wrote his first compositions. He relished his lessons in instrumentation theory with the composer Cornelis Dopper. With a teaching diploma from the Nederlandsch Muziekpedagogisch Verbond, he returned to the Dutch East Indies in 1921, against his father’s wishes. Already after two years, he had to give up a promising career as a cellist because of a tumor on his left hand. The operation had failed. Nevertheless, he performed once in a while, even Rachmaninov’s notoriously difficult sonata in g minor. In the daily De Preangerbode of May 13, 1932: “an extraordinarily talented cellist, rewarded by a thunderous applause. That certainly wasn’t the practice of an amateur!”…
Read more about Theo Smit Sibinga at Forbidden Music Regained
Strijkkwartet nr. 1 in C (1933)
Piano Sonatine (1934)
‘Grootmoeders Rust’ voor sopraan en piano (1948)
Suite voor fluit & Piano (1952)
‘Trois images’ voor fluit & harp (1954)
‘Enfants-Poètes’ Liederen voor mezzo sopraan & piano (1955)
‘Los Borrachos voor cello en piano (1952)
Robin Veldman & Myrthe Greuter, viola
Cleo van Aanhold, viola
Dieuwke Smit Sibinga, cello
Henry Kelder, piano
Elsbeth Gerritsen, mezzo-soprano
Pauline Lotichius, flute
Alexandre Bonnet, harp
Mirjam van Hengel, presentation
“We zijn ongelooflijk trots dat wij onze bijzondere (over) grootvader na zestig jaar met dit prachtige concert mogen herdenken.” (Antoinette Collignon – Smit Sibinga)
At the 6th International Festival of Actual Music “Another space” on November 29, 2018, starting at 7 p.m. at the Tchaikovsky Concert Hall in Moscow, the famous conductor Vladimir Jurowski and the Svetlanov Symphony Orchestra will perform ‘De Profundis’ by Alexey Retinsky…
The symphonic piece by Alexey Retinsky “De profundis” refers to the first line of the 130th psalm of the Book of Psalms. The 130th psalm is a call to God in deep sorrow, from “out of the depths” (de profundis). In content it is a prayer for absolution, as a symbol of deep suffering, the scale of the tragic experiences of the oppressed, laying their hope for salvation. But faith in the author of the psalm in the mercy of the Lord and the expiration creates a cheerful and joyful tone to the entire content of the psalm.
The first edition of the symphonic work was created in 2012, at a time when Alexey Retinsky studied coincidently at the Tschaikovski National Music Academy of Kiev and Zurich University of the Arts. The first edition of “De Profundis” was created as a graduation piece for the Tschaikovski National Music Academy of Kiev. With the exception of the exam, the pieсe has never been performed. Absolutely new edition of the pieсe was created in 2015.
The score of “De Profundis” was selected by conductor Vladimir Jurowski at the anonymous contest of the festival “Another Space” (Moscow). Its premiere will take place at the Moscow Philharmonic Hall on 29th November with Vladimir Jurowski conducting the Svetlanov Symphony Orchestra.
A shade I am remote from sombre hamlets.
The silence of God
I drank from the woodland well.
On my forehead cold metal forms.
Spiders look for my heart.
There is a light that fails in my mouth.
At night I found myself upon a heath,
Thick with garbage and the dust of stars.
In the hazel copse,
Crystal angels have sounded once more.
(from the poem De Profundis by Georg Trakl; translated by Michael Hamburger)
One of the most enjoyable aspects of composing is hearing different musicians bringing their own sensibilities to your music. Sadly and too often, world premiere also can mean last performance. Michael Fine has been fortunate in the case of his Double Concerto for Two Violins and String Orchestra with two different sets of soloists and orchestras having performed the work. Now, a new ensemble and soloists will perform it…
On 1 November in Dusseldorf, two young rising violin stars – Esther Yoo and David Nevel will perform the Concerto in the Robert Schumann Saal with the Swiss-based LGT Young Soloists directed by Alexander Gilman, also a superb violinist. The next evening, 2 November, the same ensemble with soloists Christa-Maria Stangorra and David Nebel will play the Netherlands premiere in his home concert hall Rotterdam’s De Doelen.
The Double Concerto for Two Violins and String Orchestra from 2015 is a 21st-century Concerto Grosso contrasting tightly woven, virtuosic music for the two soloists with the string orchestra which responds in kind but occasionally chooses a different direction which the soloists then follow. Although the work is in three movements, its melodies, harmonies, and musical lines flow across the movement boundaries, ending with a miniature cadenza for the two soloists.
In many churches, the all-seeing eye is watching. On All Souls’ Day they might wink from above. Australian composer Kate Moore loves ‘sacred places’ and ‘eyes’. The traditional ‘Bosch Requiem’ promises to be a spectacular edition this year…
November Music commissioned Kate Moore to write the requiem Lux Aeterna: VIVID, a composition full of spiritual imagination, composed for the combination of old music specialists Cappella Pratensis, Wishful Singing, TEMKO and Kate Moore’s own Herz Ensemble, with a violinist as Joseph Puglia and pianist Vivian Choi. While composing, Kate Moore winked at the three saints Sinte-Clara, Saint John and Saint Lucia, patron of the blind. These three saints accompany us during the journey from darkness to eternal light and resurrection, according to the composer. The three movements are named: Lucidity: Eyes of Hands, Providence: Revelation of the Creatures and Clarity: In Praise or Poverty.
Read more… (Dutch)
Starting on November 2nd the November Music Festival will offer a number of interesting concerts, featuring works by many of our composers. Check the program for a memorable evening!…