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Home , Cello Concerto (Rouse), Cello rock, Christian Altenburger, Diderik Wagenaar, Dobrinka Tabakova, Eduard van Beinum

programmaoverzicht Cellists Harald Austbø Quartet Naoko Sonoda Nicolas Altstaedt Jörg Brinkmann Trio Tineke Steenbrink Monique Bartels Kamancello Sven Arne Tepl Thu 18 Fri 19 Sat 20 Sun 21 Mon 22 Tue 23 Wed 24 Thu 25 Fri 26 Sat 27 Ashley Bathgate Maarten Vos Willem Vermandere 10.00-16.00 Grote Zaal 10.00-12.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal Kristina Blaumane Maya Beiser Micha Wertheim First Round First Round (continued) Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Arnau Tomàs Matt Haimovitz Kian Soltani Sietse-Jan Weijenberg Harriet Krijgh Lidy Blijdorp Mela Marie Spaemann Santiago Cañón NES and Ensembles 10.15-12.30 10.15-12.30 10.30-12.45 Grote Zaal 10.15-12.30 10.15-12.30 10.15-12.30 10.15-12.30 10.30 and 12.00 Kleine Zaal Master class Master class Second Round Masterclass Masterclass Masterclass Masterclass Valencia Svante Henryson Accademia Nazionale di Santa Show for young children: Colin Carr (Bimhuis) Jordi Savall (Bimhuis) Jean-Guihen Queyras Nicolas Altstaedt (Bimhuis) Roel Dieltiens (Bimhuis) Matt Haimovitz (Bimhuis) Colin Carr Quartet Cecilia Spruce and Ebony Jakob Koranyi (Kleine Zaal) Giovanni Sollima (Kleine (Bimhuis) (Kleine Zaal) Chu Yi-Bing (Kleine Zaal) Reinhard Latzko (Kleine Zaal) Zaal) Kian Soltani (Kleine Zaal) Hayoung Choi The Eric Longsworth Sinfonietta 11.00 Kleine Zaal Chu Yi-Bing Project Antwerp Symphony Show for young children: 11.30 Huiskamer 11.30 Huiskamer 12.45 Bimhuis Spruce and Ebony 12.45 Bimhuis 12.45 Bimhuis 12.45 Bimhuis Roel Dieltiens The Visit Atlas Ensemble House Music House Music Students around the World Students around the World Students around the World Students around the World Maya Fridman Weijenberg&Kliphuis All-Stars 13.45 Foyerdeck 1 12.45-13.45 Bimhuis Alban Gerhardt Company Announcement participants The comparison: 13.30-15.45 uur Grote Zaal Matt Haimovitz Other Musicians Cellokwartet Ferschtman Second Round Cello makers 14.00 Grote Zaal Second Round (continued) 14.00 Bimhuis The First Sonata Family performance: Narek Hakhnazaryan Jordi Savall Cello Octet Amsterdam 14.00 Grote Zaal 14.00 Grote Zaal 14.00 Grote Zaal Cello Warriors Victor Julien-Laferrière Mirko Arnone Ensemble Shiraz Korngold | Deception Beethoven most beautiful Friendship, Resistance & 14.30 Grote Zaal 14.00 Bimhuis 14.00 Bimhuis bars Protest Kronberg Academy: Caroline Kang ele lanen Hespèrion XXI Family performance: Family performance: Music from my Homeland Sheku Kanneh-Mason Julien Brocal Holland Baroque Cello Warriors Cello Warriors 14.00 Grote Zaal Ivan Karizna Pedro Estevan Nederlands Philharmonisch 15.30 Bimhuis Holland Baroque & 15.30 Bimhuis 15.30 Bimhuis 15.30 Bimhuis Let’s talk: Giovanni Sollima Anastasia Kobekina Jean-Claude Vanden Orkest Let’s talk: Let’s talk: The Comparison: Music and the brain 16.00 Kleine Zaal Jakob Koranyi Eynden Nieuwe Philharmonie Utrecht The Power of Music I The power of Music II Cello makers 15.30 Bimhuis Let’s talk: 16.15 Grote Zaal On stage The Power of Cello Harriet Krijgh Pierre Hantaï esientie est Hello Cello Orchestra Workshop Oorkaan method 16.30 Grote Zaal Reinhard Latzko Yoram Ish-Hurwitz Symfonieorkest van het Amsterdam Sinfonietta 17.00 Huiskamer 17.00 Grote Zaal 17.00 Grote Zaal 17.00 Grote Zaal 17.00 Bimhuis Jovica Ivanovic Conservatorium van House Music Take Five: Take Five: 16.30 Foyerdeck 1 Take Five: Take Five: 17.30 Grote Zaal Jean-Guihen Queyras ai aouc Amsterdam Nomads Bang on a Can All-Stars Announcement fnalists Orpheus… That’s Us! Faith, Hope & Solace Giovanni Sollima Isata Kanneh-Mason Wishful Singing 17.00 Kleine Zaal 17.00 Kleine Zaal Kian Soltani Daniël Kool Music for Galway: Music for Galway: Discover Cellissimo Discover Cellissimo 17.00 Grote Zaal Mela Marie Spaemann anil ame world premieres Take Five: Ensemble Shiraz Mick Stirling Frank van de Laar Brett Dean & Kian Soltani 19.00 Kleine Zaal 19.00 Kleine Zaal 19.00 Kleine Zaal 19.00 Kleine Zaal 19.00 Kleine Zaal 19.00 Kleine Zaal 19.00 Kleine Zaal 19.00 Kleine Zaal Michel Strauss Andrew Lawrence-King Michael Gordon 19.30 Entreehal Students around the World Students around the World Students around the World Students around the World 19.00 Kleine Zaal Students around the World Students around the World The Comparison: Students around the World Arnau Tomàs Wim Henderickx Opening Students around the World Bows 19.15 uur Grote Zaal Geneviève Verhage Fay Lovsky Ivan Karizna Introduction Quirine Viersen Vasile Luca 20.15 Grote Zaal 20.15 Grote Zaal 20.15 Grote Zaal 20.15 Grote Zaal 20.15 Grote Zaal 20.15 uur Grote Zaal 20.15 Grote Zaal 20.15 Grote Zaal 20.15 Grote Zaal Alexander Warenberg il ais Opening concert Nederlands Philharmonisch Residentie Orkest Ibn Battuta With a Blue Dress on Four Cities Nieuwe Philharmonie Antwerp Symphony Final National Cello Sietse-Jan Weijenberg Claron McFadden Florian Magnus Maier Orkest Utrecht Orchestra Competition Presentation Anner Bijlsma ca 23.00 enne oetti Award Prize-giving ceremony CELLOFEST: Philippe Pierlot Joey Roukens BartolomeyBittmann Nicolas van Poucke Giovanni Sollima 20.30 Bimhuis 20.30 Bimhuis 20.30 Bimhuis 20.30 Bimhuis 20.30 Bimhuis 20.30 Bimhuis 20.30 Bimhuis 20.30 Bimhuis 21.00 Grote Zaal CELLOFEST 2018 CELLOFEST 2018 CELLOFEST 2018 CELLOFEST 2018 CELLOFEST 2018 CELLOFEST 2018 CELLOFEST 2018 CELLOFEST 2018 Cello Coupé Chesaba Dimitris Psonis Jacob ter Veldhuis The Visit | Mela Marie Spaemann | Kamancello | Weijenberg & Kliphuis | Arnold Dooyeweerd | Harald Austbø Kwartet | Chesaba | Maya Beiser | Ecce Cello Christopher O’Riley Mathilde Wantenaar BartolomeyBittmann NES The Eric Longsworth Svante Henryson Quartet Jam Session Emile Visser Ecce Cello Jörg Brinkmann Trio Maarten Vos Project and Annie Tångberg Emile Visser & omas aue 24.00 Grote Zaal Annie Tångberg Night Concert

2 Buiksprekers van de geest 3 programmaoverzicht

Thu 18 Thu Fri18 19 Fri 19Sat 20 Sat 20 Sun 21 SunMon 21 22 MonTue 22 23 Tue Wed23 24 Wed 24Thu 25 Thu Fri25 26 Fri 26Sat 27 Sat 27

10.00-16.00 Grote Zaal10.00-16.0010.00-12.30 Grote Zaal Grote Zaal10.00-12.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote09.30 Zaal Grote Zaal 09.30 Grote09.30 Zaal Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote09.30 Zaal Grote Zaal 09.30 Grote09.30 Zaal Grote Zaal 09.30 Grote Zaal First Round First RoundFirst Round (continued)First Round (continued) Bach&Breakfast Bach&BreakfastBach&Breakfast Bach&BreakfastBach&Breakfast Bach&Breakfast Bach&Breakfast Bach&BreakfastBach&Breakfast Bach&BreakfastBach&Breakfast Bach&Breakfast Arnau Tomàs Arnau TomàsMatt Haimovitz Matt HaimovitzKian Soltani Kian Soltani Jordi Savall Jordi SavallSietse-Jan WeijenbergSietse-JanHarriet Weijenberg Krijgh Harriet Krijgh

10.15-12.30 10.15-12.3010.15-12.30 10.15-12.3010.30-12.45 Grote Zaal10.30-12.4510.15-12.30 Grote Zaal 10.15-12.30 10.15-12.30 10.15-12.3010.15-12.30 10.15-12.3010.15-12.30 10.15-12.30 10.30 and 12.00 Kleine10.30 Zaal and 12.00 Kleine ZaalMaster class Master classMaster class Master classSecond Round Second RoundMasterclass Masterclass Masterclass MasterclassMasterclass MasterclassMasterclass Masterclass Show for young children:Show for young children:Colin Carr (Bimhuis) Colin CarrJordi (Bimhuis) Savall (Bimhuis)Jordi Savall (Bimhuis) Jean-Guihen QueyrasJean-Guihen NicolasQueyras Altstaedt (Bimhuis)Nicolas AltstaedtRoel Dieltiens (Bimhuis) (Bimhuis) Roel DieltiensMatt (Bimhuis) Haimovitz (Bimhuis)Matt Haimovitz (Bimhuis) Spruce and Ebony Spruce and Ebony Jakob Koranyi (KleineJakob Zaal) KoranyiGiovanni (Kleine Sollima Zaal) (KleineGiovanni Sollima (Kleine (Bimhuis) (Bimhuis) Michel Strauss (KleineMichel Zaal) StraussChu Yi-Bing (Kleine Zaal)(Kleine Zaal)Chu Yi-BingReinhard (Kleine Zaal) Latzko (KleineReinhard Zaal) Latzko (Kleine Zaal) Zaal) Zaal) Kian Soltani (Kleine Zaal)Kian Soltani (Kleine Zaal) 11.00 Kleine Zaal 11.00 Kleine Zaal Show for young children:Show for young children: 11.30 Huiskamer 11.30 Huiskamer 11.30 Huiskamer 11.30 Huiskamer12.45 Bimhuis 12.45 BimhuisSpruce and Ebony Spruce and12.45 Ebony Bimhuis 12.45 Bimhuis12.45 Bimhuis 12.45 Bimhuis12.45 Bimhuis 12.45 Bimhuis House Music House Music House Music House MusicStudents around theStudents World around the World Students around theStudents World aroundStudents the World around theStudents World aroundStudents the around World theStudents World around the World

13.45 Foyerdeck 1 13.45 Foyerdeck 1 12.45-13.45 Bimhuis 12.45-13.45 Bimhuis Announcement participantsAnnouncement participantsThe comparison: The comparison: 13.30-15.45 uur Grote13.30-15.45 Zaal uur Grote Zaal Second Round Second Round Cello makers Cello makers14.00 Grote Zaal 14.00 GroteSecond Zaal Round (continued)Second Round (continued) 14.00 Bimhuis 14.00 Bimhuis The First Sonata The First Sonata Family performance:Family performance: 14.00 Grote Zaal 14.00 Grote Zaal 14.00 Grote Zaal 14.00 Grote Zaal14.00 Grote Zaal 14.00 Grote Zaal Cello Warriors Cello Warriors Korngold | DeceptionKorngold | Deception Beethoven most beautifulBeethoven mostFriendship, beautiful Resistance Friendship, & 14.30 Resistance Grote Zaal & 14.30 Grote Zaal 14.00 Bimhuis 14.00 Bimhuis 14.00 Bimhuis 14.00 Bimhuisbars bars Protest Protest Kronberg Academy:Kronberg Academy: Family performance:Family performance: Family performance:Family performance: Music from my HomelandMusic from my Homeland Cello Warriors Cello Warriors Cello Warriors Cello Warriors 14.00 Grote Zaal 14.00 Grote Zaal 15.30 Bimhuis 15.30 Bimhuis Holland Baroque & Holland Baroque & 15.30 Bimhuis 15.30 Bimhuis 15.30 Bimhuis 15.30 Bimhuis15.30 Bimhuis 15.30 Bimhuis Let’s talk: Let’s talk: Giovanni Sollima Giovanni Sollima Let’s talk: Let’s talk: Let’s talk: Let’s talk:The Comparison: The Comparison: Music and the brain Music and the brain 16.00 Kleine Zaal 16.00 Kleine Zaal The Power of Music TheI Power of Music I The power of Music TheII powerCello of Music makers II Cello makers15.30 Bimhuis 15.30 Bimhuis Let’s talk: Let’s talk: 16.15 Grote Zaal 16.15 Grote Zaal On stage On stage The Power of Cello The Power of Cello Hello Cello OrchestraHello Cello Orchestra Workshop Oorkaan methodWorkshop Oorkaan method 16.30 Grote Zaal 16.30 Grote Zaal Amsterdam SinfoniettaAmsterdam Sinfonietta 17.00 Huiskamer 17.00 Huiskamer 17.00 Grote Zaal 17.00 Grote17.00 Zaal Grote Zaal 17.00 Grote Zaal 17.00 Grote Zaal 17.00 Grote Zaal17.00 Bimhuis 17.00 Bimhuis House Music House Music Take Five: Take Five:Take Five: Take Five:16.30 Foyerdeck 1 16.30 FoyerdeckTake Five: 1 Take Five: Take Five: Take Five:17.30 Grote Zaal 17.30 Grote Zaal Nomads Nomads Bang on a Can All-StarsBang on aAnnouncement Can All-Stars fnalistsAnnouncementTous les fnalists Matins du MondeTous les MatinsOrpheus… du Monde That’s Us!Orpheus…Faith, That’s Hope Us! & SolaceFaith, Hope & Solace

17.00 Kleine Zaal 17.00 Kleine17.00 Zaal Kleine Zaal 17.00 Kleine Zaal Music for Galway: Music for Galway:Music for Galway: Music for Galway: Discover Cellissimo Discover CellissimoDiscover Cellissimo Discover Cellissimo 17.00 Grote Zaal 17.00 Grote Zaal Take Five: EnsembleTake Shiraz Five: Ensemble Shiraz & Kian Soltani & Kian Soltani 19.00 Kleine Zaal 19.00 Kleine19.00 Zaal Kleine Zaal 19.00 Kleine Zaal 19.00 Kleine Zaal 19.00 Kleine19.00 Zaal Kleine Zaal 19.00 Kleine Zaal 19.00 Kleine Zaal 19.00 Kleine Zaal19.00 Kleine Zaal 19.00 Kleine19.00 Zaal Kleine Zaal 19.00 Kleine19.00 Zaal Kleine Zaal 19.00 Kleine Zaal 19.30 Entreehal 19.30 EntreehalStudents around theStudents World aroundStudents the around World theStudents World around the WorldStudents around theStudents World Studentsaround the around World theStudents World 19.00around Kleine the WorldZaal 19.00 KleineStudents Zaal around theStudents World aroundStudents the World around theStudents World aroundThe Comparison: the World The Comparison:Students around theStudents World around the World Opening Opening Students around theStudents World around the World Bows Bows 19.15 uur Grote Zaal 19.15 uur Grote Zaal Introduction Introduction

20.15 Grote Zaal 20.15 Grote20.15 Zaal Grote Zaal 20.15 Grote20.15 Zaal Grote Zaal 20.15 Grote Zaal 20.15 Grote Zaal 20.15 Grote20.15 Zaal Grote Zaal 20.15 Grote20.15 Zaal uur Grote Zaal 20.15 uur 20.15Grote ZaalGrote Zaal 20.15 Grote Zaal20.15 Grote Zaal 20.15 Grote20.15 Zaal Grote Zaal 20.15 Grote Zaal Opening concert Opening concertNederlands PhilharmonischNederlands Residentie Philharmonisch Orkest Residentie Orkest Ibn Battuta Ibn BattutaWith a Blue Dress onWith a BlueFour Dress Cities on Four CitiesNieuwe PhilharmonieNieuwe PhilharmonieAntwerp Symphony Antwerp SymphonyFinal National Cello Final National Cello Orkest Orkest Utrecht Utrecht Orchestra Orchestra Competition Competition Presentation Anner BijlsmaPresentation Anner Bijlsma ca 23.00 ca 23.00 Award Award Prize-giving ceremonyPrize-giving ceremony

20.30 Bimhuis 20.30 Bimhuis20.30 Bimhuis 20.30 Bimhuis 20.30 Bimhuis 20.30 Bimhuis20.30 Bimhuis 20.30 Bimhuis20.30 Bimhuis 20.30 Bimhuis20.30 Bimhuis 20.30 Bimhuis20.30 Bimhuis 20.30 Bimhuis20.30 Bimhuis 20.30 Bimhuis21.00 Grote Zaal 21.00 Grote Zaal CELLOFEST 2018CELLOFESTCELLOFEST 2018 2018CELLOFEST 2018CELLOFEST 2018CELLOFESTCELLOFEST 2018 2018CELLOFESTCELLOFEST 2018 2018CELLOFESTCELLOFEST 2018 2018CELLOFESTCELLOFEST 2018 2018CELLOFESTCELLOFEST 2018 2018CELLOFESTCello Coupé 2018 Cello Coupé The Visit | The Visit | Mela Marie SpaemannMela | Marie Spaemann |Kamancello | KamancelloWeijenberg | & KliphuisWeijenberg | Arnold & Kliphuis Dooyeweerd | Arnold| DooyeweerdHarald Austbø | KwartetHarald | AustbøChesaba Kwartet | | Chesaba |Maya Beiser | Maya Beiser | BartolomeyBittmannBartolomeyBittmannNES NES The Eric LongsworthThe Eric LongsworthSvante Henryson QuartetSvante HenrysonJam Session Quartet Emile VisserJam Session Ecce Emile Cello Visser Ecce Cello Jörg Brinkmann TrioJörg BrinkmannMaarten Trio Vos Maarten Vos Project Project and Annie Tångbergand Annie Tångberg 24.00 Grote Zaal 24.00 Grote Zaal Night Concert Night Concert

4 Buiksprekers van de geest 5 The Seventh Cello Biënnale Amsterdam Contents

Background features Giovanni Sollima, CellistActivist 4 ‘If Music has such a power, I want to become a Musician’ 10 The Power Music, the only tangible Wonder 16 A Conduit of Consciousness 22 Bang on a Can, Te Clenched Fist or the Whispered Confdence 28 of Music De Power of Music & Te Cello's 34 CELLOFEST 2018 42 In this festival book, the central subject will be the festival theme of the Children ‘Safe & Sound’ at the Cello 48 th 7 edition of the Biënnale: The Power of Music. Roger Marie Bricoux 54 Bas van Putten and Persis Bekkering have spent time exploring the wonder of music, especially the cello. Both artists in residence, Giovanni Sollima and Program and program notes 62 Jordi Savall, tell us about the infuence of music in their lives and how they use the power of music to achieve their ideals. Saskia Törnqvist talks about the composers in residence, Bang on a Can – appearing in this Biënnale with many of Bio notes their compositions, including 4 premieres – and about how they ‘want to warrant Cellists 116 the human, plaintive, heroic role of the cello while at the same time challenging Other musicians 124 that cliche’. Cellist Fabiënne van Eck talks about her cello lessons for children at Orchestras and ensembles 132 the West Jordan Coast, and how the music gives them hope and confdence. Carine Alders wrote all the programme notes and received beautiful statements Conductors 136 from the premiered composers about their new works and motivation for the Participants National Cello Competition 138 cello. For the brand new series CELLOFEST in Bimhuis, Robert van Gijssel, (pop) journalist for Volkskrant spoke with the young Canadian cellist Raphael Weinroth- Festival information Browne about new worldwide developments in the world of non-classical cello. Anner Bijlsma Award 8

We are convinced that this background information and the extensive additional Students around the World 9 programming, including four meeting events in Bimhuis with musicians and Nearly every day... 56 scientists about the power of music, the experience of the numerous concerts of Free extra events 57

cellists, ensembles, and orchestras from all over the world, will make this a rich Let's talk 59 and intense experience. National Cello Competition 2018 60 Enjoy! De Cello Biënnale thanks 158

Maarten Mostert artistic director Travelling to the festival, eat & drink 159 Johan Dorrestein managing director Festival team/colofon 160

6 7 ‘Tere are still way too many Giovanni cellists hiding their own music Sollima, away under their mattress.’ CellistActivist ome, 14 June 2011 – it’s restless in the Via del Teatro Valle. It’s just been announced that Ra dark cloud’s looming over ’s oldest theatre. Te Teatro Valle’s future is uncertain in the wake of the latest round of spending cuts. Tere’s even talk of selling it to the highest bidder. Afer three centuries, the theatre where Rossini’s La Cenerentola premièred and where Mozart once conducted is on the verge of closure. Its staf decide to take action. Actors, dancers, musicians, theatre technicians and costume designers join forces and occupy the theatre. Prominent Italians including flm director Francis Ford Coppola voice their support. Te foyer is repurposed as a campaign centre and canteen and at night is strewn with air beds where the activists sleep. Te initial plan is to occupy the theatre for three days. Tree years later, the occupanti leave the theatre triumphant having safeguarded the Teatro Valle’s future. Among the occupanti primi was the winner of the 2018 Anner Bijlsma Award, cellist, and activist Giovanni Sollima. ‘When I heard the theatre was being sold and was going to be reftted as a lounge bar or something, my blood curdled. We rallied the ‘troops’ to the theatre via Facebook. Te turnout was enormous – you could feel the energy! We were all ultra-idealistic, but we had a concrete goal before us. We wanted to keep the theatre running and save it from such an undignifed demise. I remember the police coming to inspect the place, “What you’re doing isn’t legal,” they informed us, “but we’ve never seen the theatre look this good. Te toilets are cleaner than they’ve ever been before”.’ Even the theatre’s programming was tidied up and above all democratized, ‘Someone asked me to put on a concert. Okay, I thought, but I want to do this with as many cellists as possible. We put the call out, and the very next morning a hundred or so cellists were standing on the doorstep. Incredibile! We headed into town fashmobbing in backstreet afer backstreet. We improvised and composed on the spot. Tat same evening, we passed out the music and put on a mass concert. It felt like Woodstock!’

100 Tis frst spontaneous event – total costs €800 and a printer – would be the frst of a whole Te 100 cellos of Giovanni Sollima in the streets of . series of 100 Cellos concerts, mass events bringing together cellists young and old, amateur and professional, … frst Rome, then Milan, Lucca, Ravenna and even . Te formula remained unchanged … a battalion of cellists laying siege to a city with concerts for three days straight – inside, outside, from early to late. Sollima smiles, ‘Our longest concert ever was in by Floris Kortie Milan … afer six hours, one half of the audience was shouting, “Ancora!” while the other half was shouting, “Boo!” in the hope we’d fnally stop.’ Commissioned compositions also played a key role in the 100 Cellos formula. Te idea being

8 Giovanni Sollima, CellistActivist 9 that these had to be created in just one night, ‘Tis idea came from Teatro Valle too and was forgotten composers and historic treatises on music. Tis added a whole new dimension to a subtle reference to Rossini. By the eve of its première, he still hadn’t fnished the music for my playing.’ La Cenerentola. When they discovered he’d been out on the town again that evening, they locked him up in the theatre for the night. By the early hours, he’d fnally completed the fnal Homespun Sleuth act. Great story, right?’ Sollima is known for having rediscovered the 18thcentury composer Giovanni Battista Costanzi. Being a sleuth is something that runs in the family, ‘I inherited it from my father. NoGo Zones In 1945, he was studying piano at the conservatory in Palermo, even though it had been Sollima grew up in Palermo, Sicily. He discovered here, as he did again later in Rome, that the halfdemolished in the war. Te music library lay in ruins too. However, next to the conservatory cello was a powerful force for social and political change. Sollima recounts, ‘Palermo was a was a large market selling delicious Sicilian mandarins, oranges and grapes. My father loved it. nightmare in the 1980s. Te Mafa was embroiled in a bloody battle – among themselves and One morning, he went to the market with a friend to buy some fruit. No such thing as plastic against the state. Politicians and judges were dropping like fies and then the army moved in. bags back then, so fruit was simply wrapped in old paper. Back at home, they opened up It was atrocious. Together with other musicians and theatre makers, we decided we needed their fruit to discover that it had been wrapped in an original manuscript of Sicilian baroque to do something. So, we took music to the nogo zones. Armed with my cello, I infltrated the composer Alessandro Scarlatti. My dad couldn’t believe his eyes. Tey begged his parents for neighbourhoods to make music with the kids in defance of the violence. Was I scared? No. money so that they could go back to the fruit stall and buy up all the fruit.’ Tere was actually no time or opportunity to be scared.’ Sollima bursts out laughing, ‘He’s never eaten as much fruit again as he did that day! Scarlatti’s Slowly, but surely, the tide turned, ‘Te Mafa eventually lost its grip on the politicians. I still music had been saved, but my dad went of fruit for quite a while.’ remember Mayor Leoluca Orlando – a genius of a man and totally nuts too, but you’d have to be to want to be mayor in Palermo at that time. Orlando introduced strict antiMafa legislation Te Award – Why Me? that afected even musicians. If you wanted to hold a concert, you had to have a certifcate that Milan, 09 November 2016 – Maarten Mostert, the Cello Biennale’s Artistic Director, is proved you or your family had no ties to the Mafa!’ in to meet Sollima and discuss the upcoming Cello Biennale 2018. And to announce Meanwhile, the city has blossomed. Sollima recalls, ‘Of course, my contribution was fairly some particularly good news. Sollima blushes, ‘When Maarten told me I’d won the modest, our actions were designed to be symbolic – there’s not a lot more we could’ve done. Anner Bijlsma Award, I didn’t believe him at frst. Why me? What had I done to deserve this But music’s message sometimes reaches listeners’ ears faster than words. Music is a universal prize?’ language that unites us all. Tat’s the power of music.’ Once reality had hit home, plans needed to be made. Along with the award comes €50,000 prize money intended to help nurture and educate talented young cellists. ‘I foresee some sort Sollima’s First of small record label that will give fve or so talented cellists the opportunity to release a CD. At home, music was a uniting force for Sollima too. He comes from a family of cellists, pianists Before they even enter the recording studio, they’d have to go out into the world and connect and guitarists. As well as being a pianist, his father was also a composer, ‘As a kid, I used to with the major issues of our time. For example, refugees or climate change. Te themes selected improvise on my cello and write my own compositions. But I remember that I didn’t dare show would then serve as the common thread for their music. Ten we’d hit the studio for a week them to my dad, so I hid them under my mattress. I forbade my mum to clean there.’ together to get the music recorded.’ He laughs, ‘She wasn’t stupid, she knew what I was up to. One day, she liberated my compositions For Sollima, improvisation and composition are inextricable elements of musicianship, ‘I’d like and showed them to my dad.’ Luckily, he reacted very positively. ‘He studied my frst string to use the Anner Bijlsma Award to encourage a younger generation to improvise and compose quartet, held it up in front of him and proudly proclaimed, ‘Buono, fglio mio!’ (‘Good job, too, and to give them the same opportunities that I had. Believe you me … there are still way son!’).’ too many cellists hiding their own music away under their mattress.’ •

Anner Bijlsma – Extraterrestrial Sollima later studied cello at conservatory and composition with his father, before continuing his studies in Stuttgart and . Making the acquaintance of Dutch cellist Anner Bijlsma was a turning point in his career. ‘To me, he was an extraterrestrial – his playing was out of this world, from another world even. Giovanni Sollima’s Concert Agenda So intense, so free and yet so erudite. His research into historic performance technique was Thu, 18 Oct: Opening Concert Tue, 23 Oct: Alone by participants of the revolutionary too. It was years before I dared speak to him. He was such an icon, and I was Fri, 19 Oct: Let’s Talk: The Power of Music I National Cello Competition so shy in his presence. When I fnally plucked up enough courage to speak to him, a whole Fri, 19 Oct: Nederlands Philharmonisch Orkest Fri, 26 Oct: Faith, Hope & Solace new world opened up to me. Tanks to him, I discovered a totally new sound and began to Sat, 20 Oct: Residentie Orkest Sat, 27 Oct Holland Baroque & experiment with other cello strings and other phrasing techniques.’ Mon, 22 Oct: Master class Giovanni Sollima Inspired by Bijlsma, Sollima dove into the archives too, ‘I went in search of old manuscripts, Mon, 22 Oct: Students around the World Sat, 27 Oct: Cello Coupé

10 Giovanni Sollima, CellistActivist 11 The Anner Bijlsma Award Students around the World for Giovanni Sollima

The doyen of the Dutch cello world, Anner Bijlsma, turned 80 years Top talents from all around the world are drawn old in 2014. To honour him and to give a unique impulse to the to the Cello Biënnale Amsterdam. They visit development of young talent, the Cello Biënnale established a major in groups, often together with their teacher – new international oeuvre prize, the Anner Bijlsma Award. usually someone who is performing at the Cello Biënnale him or herself as a soloist.

The prize, consisting of 50.000 euro, is awarded 100 Cellos. Sollima is an example and role model During the 7th Cello Biënnale, there will be four free at least once every four years to a person or for countless young cellists.’. lunch concerts, and eight pre-evening concerts in institute that has found a way to be of exceptional which cello schools and conservatoires from all over service to the cello or the cello repertoire. Sollima intends to spend his prize to stimulate the world are represented. The amount is meant to be invested into the young talented cellists who want to follow The students will appear as soloists as well as in development of talent and cello education. The unusual paths and want to perform creative cello ensembles, and sometimes they play together very frst Anner Bijlsma Award was given to Anner programmes involving their own music, with their teacher. Who will play which pieces, and Bijlsma himself during the Cello Biënnale 2014. improvisation, and experimentation with diferent when and where, will be announced online during genres and styles, ranging from to the Biënnale, and on the TV screens in the entrance Now, four years later, a new exceptional experimental music, ethnic music, rock, and . hall. The Biënnale desk will have daily programmes candidate has emerged. Italian cellist, composer, to look at. and researcher Giovanni Sollima (Palermo, With Giovanni Sollima as a curator and coach, 1962) will be given the prize on Friday, October fve talented cellists will be selected and they The conservatoires represented at this edition of the 19, during the seventh edition of the Cello will receive the opportunity to create their own festival are: Biënnale, by Job Cohen, chair of the Stichting programme and record an album. Through this Beijing: Anner Bijlsma Award. project, a new label will be launched for young Central Conservatory of Music, Chu Yi-Bing talent and the experimental cello. : Maarten Mostert, artistic director of the Cello The board of the Anner Bijlsma Award is formed Conservatori Superior de Música del Liceu, Amparo Biënnale Amsterdam: by Job Cohen, chair, Julienne Straatman, vice Lacruz ‘Giovanni Sollima is an absolute top cellist, a chair, Marjoleine de Boorder, Irene Witmer, and The Hague: free spirit, and a pure artist above all. He brings Anton Valk. Royal Conservatoire, Jan-Ype Nota, Michel Strauss together research, musicianship, composing, and Freiburg: improvisation. He is a genius, unpredictable, and The sculpture of the Anner Bijlsma Award was Hochschule für Musik, Jean-Guihen Queyras always original. He works with Yo-Yo Ma, pop designed and created by Elena Beelaerts. : and rock artists, plays baroque and ethnic music, The Anner Bijlsma Award is sponsored by a Haute École de Musique, Ophélie Gaillard he performs all styles at the highest level. His number of private sponsors. Montreal: curiosity and interest towards other cultures and McGill University’s Schulich School of Music, Matt Haimovitz styles have resulted in absolute masterpieces. As : a researcher, he has managed to reveal the work Conservatoire National Supérieure, Michel Strauss of Italian composer and cellist Giovanni Costanzi Rome: (1704-1778) to a larger audience. Sollima does Accademia Nazionale di Santa Cecilia, Giovanni Sollima unique things such as playing on a cello made : of ice, and ravishing whole cities with his project Universität für Musik und darstellende Kunst, Reinhard Latzko Zürich: Hochschule der Künste, Roel Dieltiens

12 Buiksprekers van de geest 13 World-famous musician and UNESCO Artist for Peace Jordi Savall sees that he’s becoming more and more of an activist, ‘I refuse to say that I can’t do anything’. And what’s a gambist doing at a cello festival anyhow?

It was not easy to make an appointment for this interview but when we fnally see each other via Skype and I ask how much time he has, Jordi Savall says: ‘as much time as you need’. Jordi is sitting in front of his laptop in his study in Bellaterra, Barcelona, behind him a wall from ceiling to foor covered with books, music scores, records and cd’s. Shall we start with Jordi as a child? What kind of child were you and in what kind of family have you been born? Was music in your life from the very beginning? I was born in 1941, three years afer the end of the Civil War. My father was in the Republican army to fght against Franco. In the city where he was stationed he met my mother. Afer the war he had to hide from the Franco regime because he was persecuted as a “rojo”, i.e. a republican and a socialist. Although my father was an atheist, he sent me to a religious school because there was the least infuence of the fascist ideas of the Franco regime. A mass was sung every day at 9h, and the frst day I heard that singing, I knew: this is what I want also. I did a test and for the seven next years I sung in the school choir. I was 7 years old and in the beginning I learned how to sing the music, listening to the experienced singers and memorising the songs, in the same way that we learn a language. Only afer being able to sing well, I began to study the music theory and solfege.

Did you already play an instrument then? For my father it was hard to fnd work, so we were quite poor. Terefore, at the age of fourteen I had to work in a factory. In this time I liked to make music with my friends, I admired Elvis Presley, and Iike many other adolescents I played percussion, mouth harmonica and guitar. But afer the working hours, I studied counterpoint and harmony at the conservatorium. One night, I was 15 years old; my class was cancelled because my teacher had to work with the vocal ensemble of the city, preparing the Mozart accompanied by a string quartet. Afer two hours of listening to the rehearsal of this marvellous music, I was deeply impressed. ‘If music has such a I remember it so very well. I went outside, it was raining, I strolled through the city, I smoked a cigarette and I thought: when music has this palestina, I want to be a musician! From the three diferent instruments played in the string quartet, I liked the cello the most for its sound which is so close to the human voice; this voice I had just lost with the transition power, I want to become of the child’s voice to the adolescent one. Tree months later, without telling anyone, I took an amount from my salary and bought an old cello in Barcelona. At the same time I bought all the music for cello that I could fnd in a music shop in Barcelona called “Casa Beethoven”, a musician’ especially many works originally composed for the da gamba by Bach, Händel, Ortiz, Simpson and Marais, in the edition of ‘Te Cello Collection’ by Schott, an arranged version for Cello. When I arrived in my city, I took the biggest possible detour home, hoping that my friends wouldn’t see me carrying that big instrument. Immediately I started to practise this marvellous Johan Dorrestein talks with instrument. Of course the frst sound was very disappointing, but afer some experiments I Jordi Savall found very quickly the way to use the bow properly in order to produce a nice sound. Tis was the second moment in my life (the frst was in the school choir) that I felt really home. Afer three months I was capable of playing quite well several sonatas by Vivaldi and Handel and some pieces by Schumann.

14 Jordi Savall: ‘If music had such a power, I want to become a musician’ 15 You did not have a teacher? rediscovery of this forgotten voice. In February 1968 I could start studying in the SCHOLA Not at the beginning. I tried everything out by myself. I experimented a lot with the bow, CANTORUM BASILIENSIS in with Professor , viola da gamba fnding out what happens when you give more or less pressure and apparently my hands and player and conductor, one of the great pioneers from the generation before Harnoncourt and fngers seemed to have a natural disposition for the cello. Brüggen. My last collaboration as a baroque cellist was to play the basse de violon together with Anner Bijlsma and Wieland Kuijken, in the frst recordings of the baroque orchestra “La Petite So It was by coincidence, through that Schott collection, that you encountered ? Bande” under . Yes, that music, with nice melodies and variations, was familiar to me. In those days the majority of the musicians in my city, worked most of the time in the cinema Now you are artist in residence on a cello festival as a gamba player. What do you think about and the casino. Afer the arriving of recorded music, with the LP players, most of them lost that? they work. A friend of my father was cellist, and I played for them, they said, ‘Jordi, you I think this is very interesting. In a special way the gamba has a strong connection with the are crazy. Tere are enough cellists and there is not enough work’. But understanding my cello. Many people think that the gamba is an ancestor of the cello, but that is not correct: they determination they encouraged me to fnd a teacher in Barcelona. So I found a teacher and I come from two very diferent instrumental families, the “viola da braccio” played on the arm played an Händel sonata for him. He was very surprised that I had learned all this by myself, and the “viola da gamba” played between the legs, all are constructed in the diferent sizes in so few months of preparation. like the diferent ambitus of the human voices; but gamba and cello are each other’s equals in expression. Tey have the same human ambitus and voice, although the cello is more powerful Te cello and lessons with Josep Trotta and Joan Massià in the Barcelona because of the higher tension of the strings. Te gamba is more intimate; the strings have less “Conservatorio Superior de Música” changed my life. In this time (1957-58) I had to work tension, but the specifc bow position of the gamba, makes it is easier to control your bow. still 6 hours a day in the factory, and tried to fnd the time to practise at least 6 to 7 hours a Also, because there are seven strings instead of four, you can play more strings together like day. When I was called for military service (1960), I decided to be voluntary, because like this a . With a very diferent bow technique; direct control of the bristles of the bow, with the it was possible to choose to be stationed in Barcelona, where my teachers lived. In this way I third fnger of the right hand, you can work very precisely on pression, articulation, colour, could continue and practise in all the free hours during the 19 months of my military service. speed etc. Aferwards I stayed in Barcelona, where I fnished my studies in 1994. It was during these years that I had the inspiring experience of being able to listen and meet Pau Casals in his Prades Did playing the gamba pave the way to the discovery and the playing of other early string Festival. instruments? Absolutely! Also the more or less identical playing position “alla gamba”, for all the medieval How did you make the transition from the cello tot the gamba? instruments I play like the Vielle, rebec and rebab has helped in this. But my motivation was Afer the military service (1962), I continued my conservatory studies and afer my fnal not only the instruments, but in the frst place the music. As a Catalan musician and being cello exam (1964), -where I played Bach’s second sonata for viola da gamba, I went to the part of the Iberian culture, I am rooted in a history where Jews, Christians and Muslims lived summer-course of Radu Aldulescu and the Gaspar Cassadó cello competition in Santiago de together for almost 800 years. I lived with the infuences of all these diferent cultures. By Compostella. I wanted to play the works I had played at my fnal examination: the 5th Bach studying early music I got fascinated by the musical connections between these cultures. cello suite, the Beethoven 7 Variations, “Bei Männer welche Liebe Fühlen”, from the Magic Flute, the Haydn cello in D and the “Drei kleine Stücke für Violoncello und Klavier”, You created a dialogue between Israeli and Palestinians in the project, brought together op. 11 by . ethnic groups from the Balkans who had been in war recently and in your Slave Trade project you Everybody also had to play a Spanish composition and almost all the others cello players chose actually made a speech from the stage with a statement about modern slavery, child abuse, child a piece by Gaspar Cassadó, because it is nice music and for the fact that he was the President of labour and forced prostitution. Do you feel that you have become more activistic? the jury. Here was a harpsichordist around, and I proposed to play Spanish music Certainly! I have much more information now and I am in contact about this with many by accompanied with the harpsichord. But to my amazement the jury refused people. And also, on a certain moment I realised that I am a public person. When I don’t say this, with the argument that everybody had to have the same conditions. I was so angry that I anything now, it seems as if I agree with how things go. I know I can’t change politics but I lef the competition and I decided instead, to participate in a baroque chamber music course refuse to say that I cannot do anything! When bad or crazy things happen, I have to say: this directed by Rafael Puyana. At the end of the week he asked me: ‘Jordi, why do you play all is not right, it cannot be like this, this is not acceptable. When you don’t say anything, it seems this gamba music on the cello?’ I then said to myself: as soon as I‘m back home, I will start as if you say: it’s okay. And when you say ‘ but what can you do?’ I say: we can do simple looking for a gamba. Once at home, there came a call from the director of the Early Music things: help refugees in fnding a job, make musicians go to places where music is needed Ensemble Ars Musicae from Barcelona. Tey needed a gamba player and they asked me if I most: schools, hospitals, prisons, camps. would be interested and ofered me an instrument. Of course I immediately accepted. During You went to Calais and played with refugee musicians there. You studied the roots and musical the three years that followed, I have done a lot of research in the Bibliotheque Nationale of history of various cultures and you bring these people together like in your Jerusalem project, Paris, and in the Library of the British Museum in London. When I came to realise the value Occident-Orient project and Balkan project, where you discovered that many musical roots and of all the extraordinary repertory for this instrument I had discovered, I decided to change many songs are the same. the cello for the viola da gamba, and from that moment on I have dedicated my work to the We are all connected! and I think that each one of us has the responsibility to increase the

16 Jordi Savall: ‘If music had such a power, I want to become a musician’ 17 CELLOEye Filmmuseum Amsterdam & quality of life for all the persons around us every day.

It seems as if you want to give proof with your projects: ‘look, we all have the same melodies, almost the same instruments, we have much more in common than we thought’. Does this EYE Filmmuseum en reinforce your activism? FILM Cello Biënnale Amsterdam Yes! I am quite an optimistic person, but also a realistic one and I know the limitations of what presenteren Cello&Film I can do. In your life, you have to fnd a balance between what you would like to change and the things you really are able to change. We cannot change the political situation but we can do 20 t/m 26 september 2018 things if you have a minimum of capacity to organise and if you work correctly. Te frst time I brought together Serbian and Bosnian people and Israeli and Palestinian people it was difcult De Cello Biënnale en Eye Filmmuseum 24 september presenteren voor de derde keer het to facilitate a good connection. But from the moment we started playing together, it became TOUS LES MATINS DU minifestival Cello & Film. Een bijzon der MONDE possible! When an Armenian musician hears the beautiful playing of a Turkish kanoon, muzikaal fi lm programma met nieuwe and the Turkish musician the lovely sound of the Armenian Duduk, there is immediately a cello muziek bij stille fi lms, speelfi lms, Historisch drama over viola da gamba human respect and contact. Still, there is the problem of reconciliation for the Armenians bijzondere gasten en premières. speler die leefde ten tijde and Palestinians; As long as the Turkish Government is not accepting the recognition of van Lodewijk XIV. De fi lm werd bekroond the Armenian tragedy of 1915, as genocide, and as long the Israeli State doesn’t accept the 20 september met drie Césars, onder andere voor de possibility of a Palestinian State, reconciliation is impossible. Tis we cannot change. But DECEPTION soundtrack, geschre ven en uitgevoerd what we can do is to make sure that these people will not be isolated. With the music we can door Jordi Savall. bring them together, so that they can recognise and respect each other’s humanity through the Componist en Oscarwinnaar Erich Korngold schreef zijn prachtige cello- beauty and emotion of the music. 25 september concert speciaal voor deze fi lm klas sieker EYE ON ART uit 1946. Met in de hoofdrol Bette Davis. What makes you work so hard? What would you like to say at this point in your life? Do you still De Russische meestercelliste Maya have dreams? 21 september Fridman kan alles: klassiek, pop, rock, What makes me going and what makes me happy is working with beautiful music and great INTIMATE LIGHTING jazz, fl amenco en veel meer. Deze musicians. Discovering new ancient music or proposing new performances of well-known avond gaat ze in dialoog met bijzondere repertoires, with great persons and musicians within my diferent ensembles, give me a lot Een wonderlijke droogkomische fi lm korte fi lms uit de collectie van Eye. of energy. Te level of spiritual, artistic and human intensity we reach while making music van regisseur Ivan Passer waarin een together, with musicians working together for so many years, and sharing all this with people succesvolle Praagse cellist op een 26 september of all the nations in the World, belongs to the most beautiful things in life. Te confuence of weekend terugkeert naar het provincie- , gat dat hij ooit ontvluchtte. the happiness on stage and the happiness of the audience give an incredible spiritual energy. L’ARCHET INDOMPTABLE In spite of all the problems in the world, every new project brings me in a higher spiritual and 22 september Zeldzaam archiefmateriaal van de human dimension. DR. JEKYLL AND MR. HYDE wereld beroemde cellist Rostropovich. My hope is to think that when I am not there anymore, some people will still be inspired by Vertoning in aanwezigheid van regisseur the things I have done and that this inspiration will on. Music is a message of dialogue and Première van de nieuwe soundtrack Bruno Monsaingeon. intelligence. Making music together, in harmony, with respect for everybody, gives happiness voor deze fi lmklassieker uit 1920. Vooraf: minirecital door de Oekraïense and peace. We live in a very difcult and unequal world, but we can help to make life better if Gecomponeerd door Florian Magnus cellist Aleksej Shadrin en Portugese we can, through the beauty and emotion of Art and Music, make people more sensitive, more Maier, en live uitgevoerd door het pianist Raul da Costa solidary and more comprehensive. Cellokwartet Ferschtman. Working hard, giving the best of yourself, always thinking: I can do better and will never give Meer informatie en kaartverkoop: 23 september up. Problems are there to be solved. Always think: it is possible! • eyefi lm.nl/cello MAYA BEISER PLAYS FILMS FOR CELLO van , en All vows van Michael Gordon, ver- mengd met hypno tise rende fi lmbeelden van de bekroonde kunstenaar Bill Concert agenda Jordi Savall: Morrison. 18 October: Opening concert 22 October: Master class 19 October: Let's talk: The Power of Music I 24 October: Tous les Matins du Monde 21 October: Ibn Battuta 25 October: Bach&Breakfast

18 Jordi Savall: ‘If music had such a power, I want to become a musician’ CELLO & Eye adv Cello&Film.indd 1 FILM 18-06-18 10:51 Music connects, heals, reconciles, consoles and invigorates. It’s a power that everyone associates with good. But where does Music, this mysterious power, which we all experience, but don’t totally the only ‘tangible’ Wonder comprehend, come from? Maybe this mystery is the secret itself?

here are countless heartrending examples of the power that music has over us. Te Russian Tcomposer (1902–63) completed his Symphony No. 5 afer sufering a second stroke, which took away his ability to speak. It was a year later that he would ultimately pass away. Although he could no longer speak, the notes kept fowing. It’s similarly moving to witness the aged conductor sitting rehearsing a Brahms symphony in London, decrepit and halfparalyzed. You can hardly understand what he says, but his Brahms carries you away on the wind. Pianist Youri Egorov gave a majestic performance in Amsterdam only months before he too passed away afer his battle against AIDS. He played a sonata by Schubert who himself continued composing vibrant, cheery music even though he too was wasting away in the last and equally disconsolate years of his life. Music’s light seems to be able to drive out the darkness. Even Schubert’s dramatic Sonata in C Minor, composed in the year of his death (1828), sparkled with an undying vitality that appeared to triumph over any sign of resignation to fate.

Where did these artists draw their strength from? You could attribute their perseverance to sheer will power but to do so they would have had to tap into unimaginable reserves in order to negotiate the physical and mental obstacles of a Brahms symphony or a late Schubert sonata. Music is comparable to topclass sport both physically and mentally. You need to be in peak condition. Yet, we somehow manage nevertheless. Perhaps, this is only logical. If you’ve ever witnessed someone dying, you’ll have seen the burning attachment to life and to the magnifcence and conviction that made everything worthwhile throughout life’s joys and sorrows. Music deals with virtually nothing else. Just one more time, one more chance, now or never, all or nothing … letting go in the comfort of the knowledge that you now have nothing more to lose. Te urge to keep going against all odds must be so great. Tis must be incredibly confusing for the logical mind that needs a rational explanation for everything. Tis phenomenon seems to defy the laws of nature. Nobody knows how this is possible but that’s fne – the secret lies locked away in the music whose very job it is to keep it Autograph of Beethoven in which he copies the poem ‘Die Söhne de Tals’ by Zacharias Werner. a secret. Music is the only ‘tangible’ wonder we have. God may be real to his or her believers, yet he or she never appears. But Bach exists in all his glory for as long as his music sounds. Trough his cello suites, he sends a powerful and conciliatory message to us – all of us. His by Bas van Putten message touches millions of people even centuries later as though he had never lef us. Te notes aside, try to remain impassive to this incredible notion. Scientists have studied the remarkable and equally inexplicable efects of music and music therapy on body and mind. Tey can ease pain, reduce blood pressure, reactivate Alzheimer patients, bring solace to lost souls. You may well laugh, but YouTube has countless links to

20 Music, the only ‘tangible’ Wonder 21 ‘healing music for body and soul’ regardless of whether it can in any way be scientifcally explains how the urge to move and dance to music is triggered close to the brain’s motor substantiated. Nowadays, you don’t ofen hear the assertion that listening to Mozart helps cortex, whereas the cold shivers it can elicit emanate in the frontal lobe. Hard evidence exists make your baby more intelligent, but googling ‘Mozart’ and ‘baby’ is still a welltrodden path for the benefcial efects of sound on the human brain. Te corpus callosum – the part of the to countless audio and video links for ‘Mozart for Babies’ and ‘Baby Relax Channels’. Hard brain that spans the divide between lef and right hemispheres – is enlarged in children who evidence exists that not only Mozart, but all music stimulates cognitive function – even pop play a musical instrument music – yet the myth persists. It’s nonetheless become a widespread belief – afer all, it can’t do But maybe we’re simply not going to get anywhere with oldfashioned, homespun psychology. any harm to try and so babies continue listening to Mozart! What is it about the cello that appeals to a distressed soul? Is it that it resonates like a human Belief in music’s power to pacify and unite ofen prompts musicians to embark upon voice – a warmblooded voice with a lowpitched, confdenceinspiring timbre? Is it that it groundbreaking, utopian projects. Te WestEastern Divan Orchestra – conducted by resembles the words a father might speak to his child? If so, then this explains its calming – aims to playfully guide Israeli and Palestinian musicians towards a efect, surely? harmonious coexistence that is otherwise still a long way of in the embittered ArabIsraeli A child trusts its father implicitly – a child’s loyalty to a parent knows no bounds and the confict. Te Dutch organization Musicians without Borders uses music to help the refugees security this relationship provides is what every person yearns for throughout his or her life. living in camps, under the motto, ‘War Divides, Music Connects’. Merlijn Twaalfoven – a Te cello rebuilds a broken connection in the brain by means of a specifc sound. Tere’s a Dutch composer who has worked in Gaza – invites us all to join him in ‘… tackling world issues particular kind of intimacy that you’ll only fnd in works for the cello – it haunts Bach’s solo with creativity, imagination and beauty.’ In more usual concert venues, gambist and conductor suites, Schumann’s Cello Concerto in A Minor, SaintSaëns’s Cello Concerto No. 1 in A Minor, Jordi Savall fulfls his role as a UNESCO Artist for Peace by simply performing works from his Beethoven’s last cello sonatas and Schumann’s Fünf Stücke im Volkston. explorations of early music from all four corners of the globe. His own multicultural dream Te latter is commonly translated as Five Pieces in Folkstyle but feel free to interpret ‘folkstyle’ fts seamlessly with the everlasting dream of music and its power to connect and unite in a as ‘colloquial style’ or ‘intimate style’ – akin to someone sitting down next to you to explain language where we can all be at one with one another. things to you in a tranquil, sofly poignant, melancholically encouraging tone. What he’s saying Music also has the power to heighten emotions and this has nothing to with the notes exactly is incidental – it’s more about the notes. Tey strike just the right chord. You feel it so themselves – it’s an incendiary ‘kill or cure remedy’ without parallel. For Dutch ears at least, strongly that you no longer need to seek a deeper explanation. You know this from earlier, the Dutch national anthem sounds very diferent when it’s their very own Max Verstappen on when you were young and when your world was still intact. the winner’s podium. Te anthem briefy resonates on behalf of the whole nation. It’s these Te German philosopher Peter Sloterdijk concludes that rhythm relates to a universal momentary fashes of unity and solidarity, elicited by a national anthem, that idealists seek to precognitive experience – the mother’s heartbeat that every child hears in utero. Te pulse reproduce and use to build bridges in areas of confict. Totalitarian regimes have even abused symbolizes the safety of the womb and by analogy the security that everyone seeks throughout this efect, but examples of its use for the greater good abound – take for example singalong later life. St. Matthew Passions and Messiah oratorios that reinstate community arts, for the most part You could say that music is a form of solace. But this word doesn’t quite strike the right chord lost to Western society as a result of dechristianization. And together, we’re grateful that we either. It means ‘comfort or consolation in a time of great distress or sadness’, but in reality can immerse ourselves in some of the good that Western civilization has to ofer. means little more than a bandaid on an open wound. Music is much more – a solution, a path Pure, social expectations exert a heavy burden on music, but this in actual fact dates back to back to the intimate trust and the uninhibited defencelessness of early childhood, back to Beethoven’s Ode to Joy. Tere’s nothing more human than Schumann’s lament that writing for everything we need to rediscover. Music is always the light at both ends of the tunnel – behind the people be the highest calling. Te world’s most beautiful music needs to be shared – its you and in front of you. power growing, the farther it reaches. Schumann’s Fünf Stücke im Volkston and the pieces he Is there such a thing as music devoid of any solace or even a glimmer of hope? A few great, wrote for the malevoice choirs he conducted in Dresden were gestures to local communities tragic masterpieces venture extremely close to the edge of the abyss. Te last movement of who he had failed to reach with his symphonies, songs and string quartets. Unfortunately, Mahler’s Symphony No. 9 is a slow, prolonged passage symbolizing death, abandonment and music is nothing without a reciprocal ‘confrmation of receipt’. loss. How does music’s medicinal efect work? Two comments about treatment for depression caught Te fnale of Alban Berg’s opera Wozzeck based on the drama by Georg Büchner plays out in my attention in an article about music therapy in the Dutch newspaper the NRC Handelsblad hell. Te hero drowns shortly afer murdering his commonlaw wife Marie, leaving their son back in August 2017. Firstly, experts believe tempo and rhythm are essential for treatment in the closing scene riding on his rocking horse in blissful ignorance – clipclop, clipclop. Only because movement above all is essential for people sufering from depression. Secondly, patients we see that this young boy’s life now lies in tatters. As for the music, it sheds tears of sorrow appear to be extremely sensitive to the sound itself when selecting their music. According to at the sight. However, it doesn’t give up. It relentlessly attempts to console and help all of us, one of the therapists interviewed, patients ofen choose lowregister string instruments such as sofly moaning: ‘Behold the man, although it be unbearable, I’ll set it right. Never again will and cello because they say these make them feel calmer and safer. you have to sufer this.’ How come? Well, once again, they have no idea. Te article’s Dutch title even translates as Even then, the situation is not without hope. You don’t compose ‘hopelessness’. You can write ‘Music Terapy Works, but Don’t Ask Us How’. about hopelessness, however. Perhaps this is why writers are more prone to committing suicide Music’s efect on the mind has become quite popular in the since neuropsychologist than composers. Tey have to explain things word by word, moral defeat by moral defeat. Erik Scherder’s appearances on Dutch television. Scherder explains how the brain processes Büchner has his Wozzeck utter the words, ‘Der Mensch ist ein Abgrund’ (‘Man is an abyss’). incoming ‘musical messages’ in his own compelling and scientifc fashion. For example, he But music sets this straight. It transcends pain, it defuses pain.

22 Music, the only ‘tangible’ Wonder 23 Music is always a sign of life. Playing and composing are the opposite of giving up, fading away, [my music] will be freed by it from all the miseries the others drag about with them’ and in falling silent. Despair in music is never without hope. It’s the glimmer of hope uttered by the 1812 to Emilie M., ‘… for only art and science can exalt man to divinity.’ downtrodden and expressed in De Profundis (Psalm 130), a prayer for mercy, ‘From the depths He discovered for the frst time what this divinity might be in 1815, ‚Aus Gott foss alles rein I have called You, O Lord.’ No wonder so many composers have set this psalm to music. It und lauter aus. Ward ich nachmals durch Leidenschaf zum Bösen verdunkelt, kehrte ich nach expresses hope. Tere just has to be a way out of this misery. vielfacher Büssung und Reinigung zum ersten, erhabenen, reinen Quell, zur Gottheit zurück Te Swiss writer Gottfried Keller recounts in his autobiography, Der grüne Heinrich – und zu deiner Kunst …‘ (‘All things fowed pure and clear from God. If aferwards I became (Green Henry), his grandmother’s funeral in the frst half of the 19th century. Afer the darkened with passion through evil, I returned, afer manifold repentance and purifcation, to ceremony and the closing dinner, dance music is played – a long-standing tradition that the elevated and pure source, to the Godhead, – And, to your art.’) might seem odd, yet at the same time totally logical. Life resumes. Tere’s an inextinguishable God and art are one – the highest powers. And as Swiss musicologist, Harry Goldschmidt perseverance that rises up from out of the deep. Te path towards the light, triumph over wrote in reference to Beethoven’s recourse to the divine ‘… [it] rarely occurs without the anguish, begins with music. connection to art.’ In the slower passages of his later sonatas – one for piano and two for cello experienced this too. In 1812, he wrote a letter to the ‘Immortal Beloved’ – and his later string quartets, they coincide with a common message that all will be well as in which he says farewell to his last hope of holding on to a woman. He was perpetually in long as one prays and works and dares to keep on singing. Beethoven even wrote at the top of search of love. Against his better judgement and still full of disillusionment, he wrote in 1807, the manuscript for his string quartet (Op. 132), ‚Danksagung eines Genesenen an die Gottheit’ ‘Only love – yes, only love can give you a happier life! Oh God – let me fnd her – fnally fnd (‘A Convalescent’s Holy Song of Tanksgiving to the Divinity’). A prayer, and by no means his her – who will strengthen my virtue – who is allowed to be mine.’ only prayer. Five years later, he’s at his wits’ end, ‘Oh God! Give me the strength to defeat myself …’ In his Piano Sonata No. 31 (Op. 110), he seamlessly moves into a second slow passage afer the main , which is a variation on the previous adagio ma non troppo. Beethoven annotated In 1815, in utter anguish, Beethoven transcribed a poem by Zacharias Werner: the passage in German in an emphatically literary style, ‘Ermattet, klagend’ (‘Exhausted, Der Heldenmüth‘ge bietet kühn die Harfe plaintive’) followed by ‘nach und nach wieder aufebend’ (‘little by little with renewed vigour’), a Dem Schicksal dar. – Mag‘s in den Saiten wühlen; second fugue that fows into a triumphantly thundering fnale in Afat major. Goldschmidt has Allein den innern herrlichen Accord also drawn attention to prayer motifs in the Adagio and Adagio con molto sentimento d’afetto Kann‘s nicht zerstören, und die Dissonanzen from Beethoven’s Cello Sonata No. 4 (Op. 102 No. 1) and Cello Sonata No. 5 (Op. 102 No. 2) Verschmelzen bald in reine Harmonie, respectively in which the de profondis style heightens with a repressed and ofentimes Weil Gottes Frieden durch die Saiten säuselt. inarticulate fervour to a level resembling despair, but which it is not. It’s a long prayer, uttered by a man who wants to heal, a plea for renewed strength for which Fearless, the lofysoul’d lays bare to fate the composer only symbolically buckles, knowing in the depth of his soul that it is already on Te harp which the Creator’s hand has set its way. Te prayer is in itself the strength he seeks – it’s fragile, but not without power. With Within his bosom. Fate may strain the strings, the courage of despair, it wants to surface. Tis is unspoken, yet they are somehow audible. Yet not destroy the innermost accord In a frst draf of his Symphony No. 9, Beethoven wrote, ‘Recitativ Worte denkend’ (‘Recitative Of glorious tones, and soon the dissonance – hear the words in your mind’). Here, you hear the words looking for and fnding him in the Will melt again in purest harmony, stuttering notes, ‘Per aspera ad astra’ (‘Trough hardship to the stars’). His last cello sonata Because God’s peace is breathing through the chords. regains its order afer an opening of scales symbolically ascending into a grand fugue. Tey say that you come full circle once the pieces are glued. Lo and behold, two centuries later Werner expressed Beethoven’s own conclusion. Music was indeed his last hope. But then he’d we still hear exactly what he meant. And without words.• have to start over. Step by step, he climbed out of the abyss. In a letter to Bettina Brettano, he wrote, ‘Music is a higher revelation than all wisdom and philosophy, … Tose who understand

Biennale Concerts featuring works by Beethoven: Biennale Concerts featuring works by Schumann: Mon, 22 October: First Sonata, Sonata No. 1 Thu, 18 October: Opening Concert, Adagio & Allegro Mon, 22 October: With a Blue Dress On, Sonata No. 3 Mon, 22 October: With a Blue Dress On, Fünf Stücke im Volkston Tue, 23 October: National Cello Competition Round 2, Variations on ‘Ein Mädchen oder Weibchen’, Tue, 23 October: Four Cities, Fantasiestücke ‘Judas Maccabaeus’ and ‘Bei Männern welche Liebe fühlen’ Fri, 26 October: Final National Cello Competition: Cello Concerto Tue, 23 October: Four Cities, Sonata No. 2 Wed, 24 October: Beethoven at His Best, Sonata No. 5 Thu, 25 October: Friendship, Resistance & Protest, Sonata No. 4

24 Music, the only ‘tangible’ Wonder 25 Te cello has a certain dark, sultry seductiveness about it, A Conduit of not only for musicians, but for writers too. Writer Persis Bekkering – herself a violinist – investigated Consciousness why this is so.

’ve always thought anyone who chose to play the cello had to be head over heels in love with Ithis instrument. Or so I thought as a child whenever I saw those poor cellists cycling past me with a shiny, bulbous and incredibly heavylooking case on their back. I used to play and even thought the logistical side of that wasn’t always particularly easy. I played in a youth orchestra not far from where I went to secondary school. Every day, forty-fve minutes from home to school by bike and on Fridays with a violin case strapped to my back and my school bag either slung over the rear carrier or hanging in front of me from my shoulders. Ofen, I had to take a music stand as well, which I was allowed to stow along with my instrument in the caretaker’s ofce for safekeeping during the day. Our caretaker was a jovial fellow from Utrecht with a huge, reddish-brown, nicotinestained moustache, who always used to tease me with a remark about playing the guitar, cello, harp or some other instrument. As my fnal exams approached, I was ofen fnished early on a Friday afernoon with time to spare before orchestra rehearsal. My friends ofen enticed me to go celebrate the weekend with them on a patio somewhere, and I’d traipse along with all my baggage ... my instrument stashed under the table and my eye constantly on the clock. My sister played fute and loved to breeze past me with a huge grin on her face and her tiny, little fute bag in one hand. I couldn’t really imagine why anyone would willingly choose to play a bigger instrument than mine. Even as an adult, I used to observe cellists with something akin to pity or even derision as they entered into heated debate with uncooperative airline staf or as they wormed their instrument out of a compact car’s front or rear seat. Te violin really was big and beautiful enough, thank you very much.

Years later, I came across these very same sentiments expressed in Arnon Grunberg›s famous novel Tirza, which every self-respecting cellist has on his or her bookshelf – an erotic depiction of a cello on its cover with pubic hair where its tail piece ought to have been. In her last year of secondary school, Tirza used to drag her cello case into the living room ‘as though it were an animal, a stubborn cow being led to the slaughter.’ She only gets out her instrument when her father, Jörgen Hofmeester, a deeply unhappy man who had been lef by his wife, asks her to. She plays for him as he teeters on the brink of going insane out of sheer loneliness. In one scene, she is about to play in the living room … ‘Are you sure you want to do this?’ she asks. He nods. Le violoncelle sous la pluie, Robert Doisneau, 1957 ‘Is this what makes you happy?’ He nods again. (...) by Persis Bekkering She tunes the cello. ‘Daddy,’ she says. ‘You’re insane. Is that hereditary?’

26 A Conduit of Consciousness 27 ‘Hereditary?’ If the cello resembles us so closely, the only natural response surely, when playing the cello, ‘Am I that way too? Should I worry about becoming like you? Should I be afraid of going would be to abound with delight, to rejoice and to shine. Afer all, our soul would no longer be crazy?’ alone. Humankind is so fallible. A cello would never leave us as others could. We cause others pain whereas a cello never would. Of course, it too has its of days ... sometimes it’s unresponsive, A Match Made in Heaven sometimes it’s out of tune, but it’s always a far better and more intimate companion than those I always thought you needed to be a tad masochistic to play the cello. If you ask cellists why marked, argumentative, and belligerent human beings. they chose the cello, you don’t really ever get a satisfactory explanation. ‘Because my sister played violin and I wanted to play something even bigger than she did,’ someone once told me What’s more, it’s a generally accepted ‘fact’ that cellists also make far better company than (who then went on to take up the violin). For others, it was coincidence, ‘... there weren’t any violinists. Cellists are sociable and amiable – you’ll realize this the instant you arrive at the more available at the music school and I ended up quite liking the cello.’ One cellist Cello Biennale – whereas violinists are competitive, bossy and pushy to the point of being even told me he thought he was too heavily built to play violin and his fngers were better quite annoying. And yes, I’m allowed to say this about violinists because as a violinist I’m all suited to spanning the greater distances on the cello’s fngerboard. of the above rolled into one. What they’ve never told me – perhaps so as not to ofend my delicate violinist’s sensibilities – is that they were simply head over heels in love with their instrument. But isn’t this simply the Desires best, if not the only explanation? In love with its deep timbre, its voluptuous form and even Tis is why we need to refne this theory still further. Te image of the ‘cello as man’ is too maybe the oversized case a kid could hide in? Melodious. Melancholy. Bridge braced. Strings generalized, to unnuanced. Perhaps the cello isn’t akin to a complete human being, but only taut. Spike grounded. a part of us. In the Netherlands, psychoanalysis has been relegated to the sidelines of current thinking as being somewhat outdated, superseded, redundant. It is, however, alive and kicking I became similarly smitten with the violin at too young an age to remember now – I was only elsewhere in the world, so let’s fall back on this technique, nonetheless, to help us better three – but it wasn’t only a love for its sound or its highpitched melodious voice. I suspect it was understand the cello. also a desire to monopolize, to dominate. Violinists take the lead in symphony orchestras and string quartets, and generally think they’re the most important instrument. A hundred years or so ago, the Viennese doctor Sigmund Freud postulated that the human psyche is made up of three distinct yet interacting parts. Te id is the part that governs the Now is perhaps the moment to admit that I’ve ofen regretted not choosing to play the cello. instinctual drives or desires that we seek to still or satisfy. Tese are more than sexual drives, Tere’s one image that flls me with such yearning it hurts, that of a cellist practising in his or they include anything that gives us pleasure – food, aesthetics or attention. We’re born with her room ... brightly lit, a wooden foor, a music stand, Bach suites of course, legs and arms nothing more than id. Babies are ‘id-ridden’ driven by unbridled instincts. A baby demands embracing the imposing instrument. At one. Conjoined. Matrimony? No, better still, a match milk. She gets milk. A baby wants to be held. She’s held. made in heaven? And then a fash of the frustration I sometimes felt when practising the violin hits me as I tried mastering its fnesse and nuance, leaving only my ears ringing from having Te superego is a far less fun place to hang out. It’s here that rules and morals reside – our played a passage somewhere in the upper stratosphere at fortissimo for way too long. Cellists internal overseer, an inner voice that says, ‘Get back to work, you!’ always seem so serene, they’re never alone, never lonely. Cellists never have to dominate their Te ego mediates between the id and the super-ego. It’s aware that we can’t always satisfy our instrument, they’re equals, conjoined with one another. Te cello as man, or man as cello. As desires, otherwise we wouldn’t be able to function properly in the outside world. We refer to alluded to by Harry Mullisch in his Te Discovery of Heaven, ‘She held him between her legs this as the reality principle – the structure and discipline that a child learns as she grows. Te like a cello ...’. ego not only tempers our desires, but it also acts as a bufer against the ever-corrective super- ego. If we always listened to the super-ego, we’d simple curl up in bed and never open our Te Melancholy Bard eyes ever again. Unfortunately, this is familiar territory for some people, but that’s a diferent Is it its human-like qualities that explain the cello’s mysterious appeal and so many people’s subject for another day. willingness to lug that case around on their back? As mentioned at many a Cello Biennale, the cello has a range and timbre that emulate those of the human voice most closely. Ultimately, Freud ‘discovered’ that our mind had little or no control over some of our mental processes it’s that connection that we as humans seek above all else. Afer all, wasn’t it Adam’s frst desire and that many of our emotions, thoughts and behaviours were governed by our subconscious. to be with someone else shaped in his own image? Te id resides in the subconscious, whereas the ego and the super-ego are part conscious, part subconscious. But why does the cello always end up with so many melancholy melodies? Tchaikovsky’s Nocturne for cello and orchestra, SaintSaëns’ ‘Te Swan’ from of the Animals, Te ego has all kinds of defence mechanisms at its disposal to keep the super-ego and id in Giovanni Sollima’s Lamentatio ... it would appear that the cello is the perfect instrument check. I always imagine this process being enacted by two versions of myself – one childish for expressing yearning, wistfulness, sorrow ... the melancholy bard, a conduit for darker and spoilt, the other cold and harsh – at loggerheads with one another, and a referee mediating undercurrents. between the two. Not all of the ego’s strategies are necessarily that benefcial, take ‘repression’

28 A Conduit of Consciousness 29 for example, where we sweep our desires and emotions under the carpet to hide them away from our mind’s eye. Intense emotions can emerge any time we attempt to reverse this process, #LANDSCAPE as happens on the psychoanalyst’s couch. Introducing a new #LANGUAGE Well, so much for Psychoanalysis 101, but what does all this have to do with the cello? I always #MIGRATION imagine the cello as being akin to our subconscious, and more so than merely metaphorically. Te cello is a conduit – directly addressing our subconscious and bringing whatever’s lurking Cello Festival in down there into the light. Ofentimes, this makes us sad or melancholy, but ofen it also brings new insights with it. Tis is precisely the power that music has over us. A power that needs no words. Pure, primordial, physical. Overpowering, tumultuous and ultimately regenerative. Galway, Music drowns out our super–ego, it strips away our words, our language, leaving only tears of sorrow, or laughter, or both. Te cello is perhaps the maestro supremo in this regard with its human-like shape and sound.

We begin to grasp why scenes in literature depicting a cello are tinged with something sultry, sensual, sexual. In both Te Discovery of Heaven and Tirza, the cello channels underlying desires up to the surface. Te instant we hear the cello, something begins to stir inside us. Is it deepest desire? Is it suppressed sorrow? 25 APRIL– In both novels, the cello also channels a certain crystal-clear clarity. When Tirza begins to play in the scene I quoted from above, one of her bra straps accidentally shows, prompting 3 MAY 2020 her father to suddenly relive all the pain and sorrow of his life. Looking back, he in an instant understands it all. ‘Of living he remembers an uneasy silence, a stifness of the muscles, a tic, a narrowly repressed lust. Te everlasting need to act civilized under all circumstances.’ Et voilà, the leading realizes he went through life subjugated to his overly dominant superego and on hearing the cello now feels how his subconscious desires are asserting themselves.

Uncorking our most deeply repressed self can be disturbing, even traumatic, but ultimately cathartic and salutary. It teaches us more about ourselves and helps us fnd a more harmonious balance – this, afer all, being the aim of sessions on a psychoanalyst’s couch, as I’ve understood it. I’m not saying that the cello can replace good therapy, but still, it’s harmoniousness is Find us at the Cello Biennale indescribably beautiful, albeit feetingly so. Tis is what I see before me when I think of that cellist practising in her room. Te inner dance with herself before she dances with her audience. Amsterdam 2018

All things considered, the ‘cello case’ now no longer seems such a burden, more a symbol of Visit our CELLISSIMO stall for festival pride. Its noble bearer a beacon – visible to all for miles around. Cellists be cherished! • details and don’t miss our presentation in the Kleine Zaal on Friday 19th and Saturday 20th at 17.00. www.musicforgalway.ie

Part of Galway 2020 European Capital of Culture

30 A Conduit of Consciousness A little over thirty years ago, they caused a commotion that still resonates to this day. In 1987, the New Yorkbased Bang on a Can Bang on a Can composers David Lang, Julia Wolfe and Michael Gordon orga- nized their frst marathon concert jampacked with multicultural the Clenched Fist or music, in perfect keeping with the zeitgeist of the late 1980s. In the years that followed, they’ve been nurturing the cello as both a the Whispered Confdence? solo and ensemble instrument and have each written new pieces for the Biënnale that showcase the cello’s power. But the pertinent question is which direction should this power be directed in today’s world – the clenched fst or the whispered confdence?

hose were the days … David Lang (1957), Julia Wolfe (1958) and Michael Gordon (1956) Twere all around 30 years old when they smashed down the neatly piled brick walls segregating the various musical genres of their time. Teir marathon concert jampacked with jagged rhythms painted a colourful and multifaceted landscape in which classical, jazz, impro, funk, rock and folk music merged, mingled and mutated with other art forms. It was a liberating gesture that expressed the sentiment of the times both inside and outside the musical world.

In 1989, an actual wall toppled – the Berlin Wall – under the sheer weight of popular demand in both the East and the West. It heralded a new era that strove to push cultural, ethnic and social diversity to the fore. A wave of euphoria arose, and music surfed along with it. Bang on a Can caught this wave too and created its own elite corps of musicians – the Bang on a Can AllStars, six musicians who soon became a highly soughtafer group in New York and overseas. In 1993, the group organized the frst of its marathon concerts in Paradiso (Amsterdam) as part of the Holland Festival, placing itself squarely on the map of the ensemble world in the Netherlands.

For some time, there had already been a fair degree of interaction between musicians and composers in the USA and the Netherlands, involving the likes of the Netherlands Wind Orchestra, the Orkest de Volharding, the Asko Ensemble and Hoketus. By the early 1970s, had already been exchanging ideas with Steve Reich and , and simultaneously they blasted the no man’s land between pop, impro and classical into oblivion, each developing their own personal take on minimalism. Andriessen’s composition De Staat (‘Republic’, 1976) gained cult status in the USA, prompting young David Lang Julia Wolfe Michael Gordon American composers to come to the Netherlands to get a whif of the Hague School. Among these young composers were the abovementioned Bang on a Can cofounders.

by Saskia Törnqvist

32 Bang on a Can, Te Clenched Fist or the Whispered Confdence? 33 Hard Blows & Sof Intentions Te Cello – Our Lyrical Conscience David Lang feels extremely indebted to the pioneering work carried out in the Netherlands at And so, to the heroic role of the cello! All the previous editions of the Cello Biennale Amsterdam that time. In an earlier interview with Lang, conducted in 2015, he said, ‘Musically speaking, together prove that the cello’s timbre and dramatic qualities are unprecedentedly rich, and as the Netherlands is where I matured. In the 1980s and 90s, there were more performances of we’ve ofen heard, can be attributed a certain humanlike quality. An elegiac lament? A song my work in the Netherlands than there were in New York. I used to chat with Louis Andriessen of innocence and longing? A narrative melody in parlando style? Te cello is the obvious a lot. About how important it is that you remain true to your original ideas for a piece. And instrument to use to fulfl all these requirements. about how essential it is to remain at the centre of society as a composer.’ Te same can be said when listening to Lang, Gordon and Wolfe’s cello compositions. All three Of the three Bang on a Can composers, Michael Gordon has probably remained the truest have composed several pieces for their own inhouse cellists – initially Maya Beiser and later to the ideals of the Hague School. For example, his hardcore, multilayered Trance (1994) Ashley Bathgate. It’s interesting to note that all three composers attempt to uphold the role of inundates its listeners with musical information served up by various groups of instruments the cello as something heroic, humanlike and plaintive, yet nonetheless also call this cliché weaving in and out of one another in varying metres and rhythms. It’s a prophetic work that into question. seems to predict the perpetual fow of information in our current digital age but is also a piece with recognizable traces of other Hague School composers, specifcally Michael Gordon demonstrates this amply in his tragic Light Is Calling, written in the afermath and Louis Andriessen. A more recent example is Gordon’s Natural History (2016) for choir, of 9/11. Te cello’s lyrical melody lines are gradually absorbed by a sucking, pulsating orchestra and indigenous American drummers – once again, we experience the repetitive computercontrolled noise akin to the soul being sucked out of living prey by its soulless patterns, the spatial setting and the compelling force reminiscent of a whirlpool. surroundings. Similarly, in Gordon’s Industry, the cello’s initial dulcet calls drown and erode in a maniacal frenzy of sound. Julia Wolfe’s music exhibits a similar, inexhaustible energy. Wolfe grew up with funk, Motown and rock. She recalls, ‘I grew up dancing to this music, I felt the freedom it gave me.’ Virtually In Lang’s Cheating, Lying, Stealing – a composition about mankind’s corrupt and manipulative everything about Wolfe’s music is a celebration of freedom. She’s put together an impressive traits – the cello remains the only vibrant voice suggesting any shred or remnant of human oeuvre based on pulsating rhythms, modal melodies, repetitive patterns and sudden explosions conscience. In his World to Come – also written in memory of 9/11’s victims – the cello’s of sound – in many ways refecting real and current social issues. A prime example is her melody line is shrouded in an unmistakeable veil of mourning. pounding, plaintive requiem for the masses Anthracite Fields, which deals with the harsh working conditions in Pennsylvania’s coal mines and earned her the His more recent composition for Maya Beiser, Te Day (2016), strikes listeners in the Achilles in 2015. heel of their soul. Te Day – based on fragments of text from the internet – deals with crucial moments in a person’s life: moments of pain felt, insight gleaned, destiny fulflled, loneliness Perhaps even more imposing is her composition Steel Hammer (2009) in which man and embraced ... in short, occasions on which the essence of life unfurls and reveals itself. Not machine enter into a battle to the death. With pieces like these, Wolfe tackles themes based on surprisingly, Te Day is a composition for cello and text with the cello once again acting as a universal dichotomies such as the individual versus the masses, vulnerability versus disregard conduit of our conscience – standing steadfast in its vulnerability. for death, nature versus mechanization, oppression versus compassion ... While writing this article, David Lang, Julia Wolfe and Michael Gordon were still working on You don’t have to look too far for social connotations in David Lang’s compositions either. the compositions they’ll be premièring at this year’s Cello Biennale. Lang is creating a new Here’s just a selection of works from his impressive oeuvre with equally impressivesounding piece for Harriet Krijgh and vocal artist Claron McFadden. Wolfe is writing a cello concerto titles – Prisoner of the State (coming soon... 2019), Te Public Domain, Pay Me Now, for Jacob Koranyi and the Residentie Orkest. And Gordon is composing a work lasting more Revolutionary Etudes. Although Lang’s music ofen explodes with unexpected crashes and than hour for Cello Octet Amsterdam and a solo piece for Ashley Bathgate. Tis last piece laserlike melody lines (for example the evercurrent Cheating, Lying Stealing being performed will be performed several times in a specially designed concert house on the Muziekgebouw’s at this year’s Biennale), his works also have another side to them – introverted, tranquil, almost quayside in which only a select group of listeners will be able to ft inside and hear Bathgate’s pining. intimate ‘plea by cello’.

His Te Little Match Girl Passion is deeply moving and justifably earned him the But what role will they be attributing to the cello this year? Tus, we come full circle, back to Pulitzer Prize for Music in 2008. His song cycle Death Speaks has a haunting beauty to it – it the commotion that Bang on a Can caused in 1987 and that’s still echoing to this day. Echoes, explores fear of and desire for death. Lang explains, ‘I always say, “Give me a theme and I however, that are increasingly being drowned out by tyrants – who shall remain nameless – guarantee I’ll make it depressing”.’ But it’s never totally depressing. Even if Lang’s music dares casting a dark shadow across the world stage. Te era when walls were being torn down is look despair straight in the eyes, a certain lucidity still pervades that forces a draw in the battle long behind us. Today, he who barks the loudest, he who espouses misogyny, he who fears the with the spectre of cynicism. foreigner, he who builds walls between the USA and Mexico, between Israel and Palestine, … rules the roost.

34 Bang on a Can, Te Clenched Fist or the Whispered Confdence? 35 David Lang and Louis Andriessen once concluded in conversation together that as a composer you have to relate to society. Tis assertion is, today, more poignant than ever. But what power can you hope to wield as a composer in the face of currentday cynicism? Bang on a Can has long since become a brand with the image of a bunch of hip characters composing swinging, pounding, sexy music. But that’s outwardfacing. Over the years, its three cofounders have become increasingly inwardlooking. Minimalism, tranquillity and implosive consternation now increasingly set the tone for their work. So what power are they attempting to channel in the pieces they’re composing? What role will they attribute to the cello? What message will hit home the hardest? Will it be the clenched fst or the whispered confdence?

In the meantime – while they’re busy composing, refning, erasing and experimenting on the other side of the pond – let us seek a modicum of wisdom from the Tao Te Ching ... ‘… the weak are conquerors of the strong, Te pliable are conquerors of the rigid. In the world, everyone knows this, But none practice it.’ Tense times ahead indeed – inside and outside the Biennale! •

Concert agenda Michael Gordon, David Lang and Julia Wolfe

Michael Gordon David Lang Julia Wolfe Thu 18 Oct: Opening concert Sun 21 Oct: Korgold|Deception Sat 20 Oct: Residentie Orkest 19, 20 & 21 Oct: House Music Mon 22 Oct: BoaC All-Stars Mon 22 Oct: BoaC All-Stars Sat 20 Oct: Night concert Fri 26 Oct: CELLOFEST Mon 22 Oct: With a Blue Dress on Mon 22 Oct: BoaC All-Stars Sat 27 Oct: Amsterdam Sinfonietta

36 Bang on a Can, Te Clenched Fist or the Whispered Confdence? 37 Tirteen composers have written ffeen new cello pieces especially for this seventh edition of the Cello Biennale. Te warmth, depth, versatility and virtuosity of this music is so inspiring, as are the per- sonalities of the cellists for whom these pieces were written. Te Power Stop reading now if you’re attached to some romantic notion of the composer seeking inspiration in solitude and then descending from his or her ivory tower with a readytoplay masterpiece.

No one shatters this romantic notion quite as radically as Giovanni Sollima does. He’s composed two pieces for the Holland Baroque concert that refect on the old masters. Yet he’s equally at of Music home heading into underprivileged neighbourhoods and writing modern pieces on location. Do read Floris Kortie’s intriguing interview with Sollima on page 4. Te creation of a new piece of music is ofen the result of chance encounters, past experiences and longslumbering ideas. Wim Henderickx returned to an old love of his – Indian music – afer meeting sarangi player Dhruba Ghosh. As the Antwerp Symphony Orchestra›s artist in residence, Henderickx discovered that the orchestra was actually quite open to trying out new ideas. ‘I know everyone pretty well now and have regular contact with all the orchestra’s musicians. You’d perhaps think that someone who teaches composition would also know everything there is to know about composing music, & but being an artist is about constantly taking risks. Tat’s the thrill. I get on really well with Jean- Guihen Queyras, too – it was a great decision by the Biennale to put us two together.’ Up until now, Jacob ter Veldhuis (also known as Jabob TV) hadn’t dared compose a cello solo, ‘Te more you lack the wherewithal, the less you can hide behind the notes. It freaked me out, but I had to get around to it sometime!’ Johan Dorrestein suggested working together with Quirine Viersen.

A Peek Behind the Scenes Te Cello's Ter Veldhuis explains, ‘I really wanted to write a piece ononone with a musician and to create something together in peace and quiet. I don’t ofen do this because to be honest I don’t want anyone nosing around behind the scenes. It’s quite unnerving – I’m more a you-can-take-a-look- once-I’ve-fnished type of person. If anyone were to react too enthusiastically before I’d fnished, I’d think to myself, “What if I can’t live up to their expectations?” And if they don’t respond enthusiastically right away, I’d start doubting myself again, “What if I’m not good enough?” Quirine now works with me behind the scenes and has even become something of a composer herself!’ For his piece, Glaciers, Ter Veldhuis found inspiration in the world around us today. ‘Tirty Magic per cent of the world’s water is locked away in glaciers. Tey even lef their mark on the Netherlands during the ice age and are part of a millennia-long geological phenomenon. Tat the glaciers are melting is tragic and irreversible – it plays constantly on my mind.’ Joey Roukens wanted to present a more meditative side, having recently written several highly rhythmical works. He made a deal with Cello Octet Amsterdam and Wishful Singing’s musicians and singers very early on in the composition process, ‘I wanted to know what their strengths and weaknesses were, and what they absolutely didn’t want to perform. I didn’t listen to their music too closely either, otherwise I’d have inhibited myself, but it’s great that Cello Octet Amsterdam has since released a CD with music by Arvo Pärt and that Wishful Singing by Carine Alders has been singing Gregorian chants. In terms of afnity, I’m certainly on the right track.’

38 Te Power of Musci & Te Cello's Magic 39 Jacob TV Giovanni Sollima Joey Roukens Mathilde Wantenaar Brett Dean

Brett Dean had already exchanged thoughts with Alban Gerhardt without knowing that they were body – a perilously avant-garde, 20th-century efect – but only a bang here and a tap there to discussing a cello concerto. ‘About four years ago, I wrote a competition piece. Alban advised me seem just a little progressive, right? Nothing ventured, nothing gained ... so I used the tapping as to make it challenging without making it unplayable. When I started writing my cello concerto, I a basis. But it ended up as more than just a tap here and a tap there – the piece begins with a full- referred back to this particular competition piece – it had been based on a technique developed blown tapping passage, which would probably drive more traditionally inclined cellists to despair. by and Peter Schneider. If you get a writer’s block while composing, pull out a card In terms of the composition process, the piece remained challenging to write because it’s nigh from a deck of inspirational cards with instructions such as ‘Listen to the silent voice’ or ‘Each on cruel to force talented cellists – who’ve studied for years to master this string instrument – to line has two ends’. I strung these cards into an abstract storyline. You’ll hear something of this perform as mediocre percussionists. Tis is why I felt compelled to give the bow a role as well and approach in my cello concerto. And it became a totally diferent musical work.’ use pizzicati passages as a bridge between the two.’

Keeping Her Options Open On Home Turf Not everyone’s able to tell you about a new composition in its early stages. Mathilde Wantenaar Although Mathilde Wantenaar is too busy these days to play cello herself, she’s still very familiar likes to keep her options wide open, ‘If I’ve got an idea and start writing, the music – as ofen as with the instrument. ‘My granddad used to build cellos for a hobby. We even managed to recover not – then leads me in a totally diferent direction. Without lyrics, I just surrender myself to the one of his cellos, but someone then had to play it. Guess who? Yours truly. I was so angry with my notes themselves.’ She also likes to immerse herself in the world of musicians, ‘Tis is why I’m mum. I was already playing the violin, why didn’t she go play it herself? Nonetheless, I did think now studying vocals too. I want to be able to put myself in anyone’s shoes. Tere’s always a risk it was an incredibly beautiful instrument. I played both violin and cello for a while, but ended up that your own limitations will have too much of an efect on your composition. One time, I tried just playing cello. blowing through an oboe’s reed – I thought I was about to die! I now really sympathize with Cellist Kate Moore likes to compose on her cello. ‘It’s something very close to my heart, it’s easier oboists and hardly dare write anything for oboe anymore.’ to get a feel for the music.’ Te Australian composer Kate Moore is fascinated by the 31-tone equal-tempered organ designed Jacob ter Veldhuis loves the cello’s timbre, its versatility, its melodic expressivity, its voluminous by Adriaan Fokker and housed in the Muziekgebouw aan ‘t IJ since 2009. Its pure consonance sound. ‘A cello can span all registers – it’s always been my sting instrument. Te violin is is a source of inspiration for her new composition for cello quartet and shadow instruments. ‘I a heavenly instrument too, but all its possibilities have now more or less been explored. Te cello ofen seek inspiration in nature, but this time around it’s the organ’s sound itself that inspired on the other hand still ofers composers a whole world of opportunities.’ me. When I hear Fokker’s organ modulate, I experience something akin to synaesthesia. It’s an Julia Wolfe’s frst composition was for two cellos and percussion. ‘I was in my early twenties and amazing experience – I see colours fashing before me. Associations with rainbows gave me the just starting out. I had the cellos snarl and scream and before I knew it I’d won another prize. I idea to call my piece Arc en Ciel.’ think the cello must have started appealing to me at a young age.’ Birds form another source of inspiration. ‘It wasn’t that long ago that I moved to Amsterdam. I live close to the zoo, near to its aviary. But in actual fact, you hear birdsong wherever you go in Cellists Centre Stage the Netherlands. Every morning, I hear a blackbird singing its heart out. It’s at the same time an Musicians played a very important role in the choice of instrumentation for Bang on a Can’s incredibly sad and happy song that heralds the impending dawn.’ composers David Lang, Michael Gordon and Julia Wolfe. And Bang on a Can AllStars’ cellists For Teo Loevendie, starting the process of composing Celloquio was tough going, ‘I clearly felt Maya Beiser, Wendy Sutter and Ashley Bathgate are the reason the cello plays such a prominent the pull of SaintSaëns’ dying swan. I ofen think of it for romantic cello music, but as a composer role in these composers’ works. there’s little I can do with these associations. And of course, there’s the ever-indomitable Bach. David Lang explains, ‘When we founded Bang on a Can in 1987, we envisaged a sort of meeting Again, there’s little I can do with these associations for completely opposite reasons. So, it was place for likeminded people. Listeners who wanted to be challenged, composers who didn’t want to tough. Until doublebass jazz solos came to my rescue. But composing jazz for the Biennale? It be pigeonholed into any particular genre, musicians who were always looking for something new. would only be kitschy, fake jazz. But it’s how I came up with the idea for tapping on the cello’s When we established Bang on a Can AllStars, we didn’t care about a perfectly balanced mix of

40 Te Power of Musci & Te Cello's Magic 41 David Lang Michael Gordon Julia Wolfe Florian Magnus Maier Wim Henderickx

instruments, we simply selected musicians whom we’d been working closely with for many years. A Momentary Flash of Magic Cellist Maya Beiser was one of these musicians. Writing for Maya, I’ve learned what’s possible for All our composers recall moments that the power of music played a particularly prominent role cello and what’s not.’ in their lives. Ofentimes, they literally felt this power coursing through their body. Julia Wolfe adds, ‘I’m so grateful that I get to collaborate with so many fantastic cellists. Te Teo Loevendie recalls, ‘An extreme example was a sort of outofody experience – a long time ago AllStars’ three cellists – all women – are all utterly amazing and totally diferent. Tey’ve become during one of the frst performances of Indian music in the Netherlands. It was an almost mystical my muses.’ experience. Other times, it’s less extreme – without outofody experiences – for example, when Michael Gordon likes to compare the cello to the and composed his new solo piece I’m listening to music, especially Bach. And not necessarily his St. Matthew or St. John Passions – specially for Ashley Bathgate. It will be premièring during the 2018 Biennale. ‘I intended it to even when listening to a cello sonata. And it doesn’t have anything to do with religious feelings, be performed in a small, intimate setting such as a living room. I drew inspiration from a time but it’s similar.’ when radio, openair concerts and CDs didn’t exist. Music was something that was performed and Jacob TV continues, ‘Music is intangible, metaphysical – it only exists in the moment itself. It’s enjoyed in the home. It’s a series of short works that were inspired by guitarists ... blues guitarist something quite miraculous – to think vibrations in the air around us can touch us so deeply. With B.B. King, surf guitarist Junior Brown and even a few heavy metal guitarists.’ A small house has the advent of the CD, I thought that background noise suppression would be an amazing advance, even been built on the Muziekgebouw’s patio area just for these concerts to serve as Gordon’s but I realized that attending a concert is actually where you hear real music. On several occasions ‘living room’. throughout my career, I’ve had to contend with unfavourable conditions during a première. And then something special happens during the concert – that’s the power of music. A magic arises Early & Contemporary between the performers and the listeners. Te power of music unites us in that moment.’ Composing for cello is a relatively new direction for Joey Roukens. ‘I’ve written string quartets Indian music gave Wim Henderickx a whole new perspective. ‘A special moment for me was before, but never a piece for cello in the lead role. I loved immersing myself in the cello’s sound – while listening to a twoandahalfour raga played on a bansuri fute. I was teaching harmony, it’s ofen used to express romance. But Angeli didn’t end up being overly romantic. specializing in Wagner’s harmonies, and was looking for new directions. Tis concert was the ‘In Paradisum’ from the Requiem Mass forms the main text – neither heavy nor sombre, but solution to my artistic crisis – the power of music had shown me a new path to follow. Moreover, consolatory, serene and meditative. Although it echoes early music, it’s certainly not a pastiche. music is a universal language that knows no boundaries and transcends cultures. Recently, music I tried to translate Renaissance techniques into a language of my own. It’s turned out to be a has become much more open and less ‘pigeon-holed’. Nevertheless, I am and will always be a sort of imaginary, dreamtup style of early music. I primarily have the cellos play in their higher Western composer and never aim to imitate.’ register where they most closely resemble the human voice. It sounds like a choir – a consort of da gamba and then on top of this a female a cappella. Te lyrics are ideal for rich, warm Start ‘Em Young sounds and long, fowing lines, but I had to be careful not to let it become too kitschy or sweet and Brett Dean joined the Brisbane youth orchestra as soon as he had mastered the violin sufciently sickly. Tis is why I occasionally peppered my harmonies with striking dissonants. to earn himself a chair. ‘Tat was a defning moment for me. All the emotions that music can elicit All in all, it’s a very diferent piece than many people are used to from me. It’s quite nerve-wracking – euphoria, sorrow, joy – it’s simply amazing. We played Holst’s Te Planets and I felt the physical with such unusual instrumentation, you never know exactly how it’s going to work out.’ energy coursing through my body.’ Mathilde Wantenaar’s roots also lie in tradition. ‘Te music the great composers wrote for us Julia Wolfe also remembers how as a child she experienced the magic of music while dancing to with their passion and dedication is what inspires me the most. You can borrow from the past, an LP, ‘I love visual arts, theatre and dance, but none of these strike a chord the way music does. but as you progress things start to take shape and eventually become something new. I think it’s I can’t explain why, but music gets a far deeper hold on you. I stumbled in on a music lesson once important how you relate to tradition. “Innovation” has become such a buzzword these days, you when I was at secondary school – the teacher was out of this world. Tere’d always been music hear it everywhere you go like some sort of mantra. It leaves me thinking, “So, what is innovation? around me, but it had ‘waited’ until this particular moment to win my heart. I’d go insane if I What’s the big deal?”’ couldn’t write music.’

42 Te Power of Musci & Te Cello's Magic 43 Concert agenda commissioned works

Brett Dean: Thu 25 Oct: Antwerp Symphony Florian Magnus Maier: Sat 22 Sep: Dr. Jekyll Orchestra and Mr. Hyde Michael Gordon: Sat 20 Oct: Night Concert, Kate Moore: Sat 27 Oct: Amsterdam Sinfonietta 19, 20 & 21 Oct: House Music Joey Roukens: Thu 18 Oct: Opening concert Wim Henderickx: Thu 25 Oct: Antwerp Giovanni Sollima: Sat 27 Oct: Holland Baroque Symphony Orchestra & Giovanni Sollima Ivan Karizna Fri 26 Oct: Music from my Jacob TV: Tue 23 Oct: Four Cities Homeland Mathilde Wantenaar: Thu 25 Oct: Antwerp David Lang: Sat 27 Oct: Amsterdam Sinfonietta Symphony Orchestra Theo Loevendie: Fri 19 and Sat 20 Oct: Julia Wolfe: Sat 20 Oct: Residentie Orkest National Cello Competiton First Round

Teo Loevendie Kate Moore

It’s difcult for Mathilde Wantenaar to choose one particular occasion on which she experienced Connection the power of music, ‘My whole life’s been flled with this power. I just marvel at it and simply let it According to Bang on a Can’s composers, music’s power to communicate and connect is not guide me in my life. Once I wrote a song for the children of IJburg – an area in East Amsterdam without its obligations. David Lang explains, ‘Last year, I took part in a project that used 1,500 – as part of a Dutch National Opera project. And then to hear all the children and their parents broken musical instruments, which were supposed to be for children to play on, but were lying on the school playground singing my song. Wow! But even when I play Bach on my own at unused in cupboards in schools around the country. Tere simply wasn’t any money available to the piano, I hear all the voices of the fugue come to life ... it’s an abstract phenomenon in the repair them. notes themselves. Tere are only twelve notes per octave and depending on how you weave them I composed a ‘symphony for broken instruments’ with an aim to bring people together and collect together, they can make you either happy or sad. It’s marvellous!’ enough money to get them repaired. Te music was amazing, but more importantly it united Wim Henderickx was originally a percussionist. ‘I was only four or fve years old and I already people in an attempt to solve their own problems themselves. Te most moving moment for me knew I was destined to end up in music. I never doubted what I wanted to do, not even at was a cello without neck or strings. Players held its body in their arms and used the crippled cello secondary school.’ He also believes the power of music lies in communication, ‘Music allows you as a percussion instrument. It reminded me of parents cradling their child in their arms.’ to share your innermost human emotions without the need for words. Music transcends mere Julia Wolfe adds, ‘We’re living in confusing times. I can’t just lose myself in my music and pretend words.’ there’s nothing wrong in the world. Yet music also has the power to help people forget their misery. Henderickx is both proud and happy to be appearing at the Biennale with his student, Making music together is beautiful and on occasion even democratic. Everyone’s important, even Mathilde Wantenaar, ‘I’d fnd it annoying if my students imitated my music, not for me, but for the triangle player. Tis is why I prefer writing for ensembles. them. Tat’s not the case with Mathilde, however, her music has absolutely nothing to do with It’s in times of hunger, like these, that we should allow music to nourish us. Music can also get mine and has its own authentic personality.’ certain issues onto an agenda. I’ve written music about coal mines and to this day, I still receive letters about this topic.’ Medicine Music can even reach more isolated groups of people who otherwise have little or no connection Kate Moore thinks the power of music is addictive, ‘I have countless cherished memories, but with the outside world. Bang on a Can has even created its own communitybuilding programme a special one for me was when a member of the audience came up to me to tell me that he’d called Found Sound Nation. Michael Gordon explains, ‘Te premise for the annual OneBeat given a CD of mine to a sick friend of his. Tis friend had told him that my music had helped festival is to bring together musicians from nations that are in confict with one another. Tirty him get better. Tis is the ultimate power of music – the power to heal. Come to think of it, musicians compose, rehearse and live together and then go on tour for two weeks.’ music actually is medicine. I want my music to have a physical, emotional and spiritual efect Under the motto, ‘Music needs no visa’, young musicians learn how to work together and organize on people.’ Joey Roukens adds, ‘Music has the power to console us. Listening to music is an workshops for underprivileged children. Each participant then drafs a plan to start a project in emotional experience, cathartic even.’ David Lang also acknowledges music’s power to help us his or her home county. • communicate, ‘Music helps people open up to communicating about the true essence of our humanity in a way that can’t be expressed with words, language, knowledge, intelligence... it transcends these. However, it’s not always a positive force. Te power that singing and dancing to gospels together gives us is the same force that can incite a crowd to become violent. Music opens us up to a primeval power, but it’s up to us to decide whether we channel this for good or bad.’

As a prelude to the Biënnale, the festival CELLO&FILM will take place from 20-26 September in Eye Film Museum. Sat 22 September, Florian Magnus Maier’s new composition for the 1920 flm classic, Dr. Jekyll and Mr. Hyde will be premiered.

44 Te Power of Musci & Te Cello's Magic 45 Raphael Weinroth-Browne CELLOFEST 2018

Robert van Gijssel is a pop journalist for the Dutch newspaper De Volkskrant. He’s noticed how cellists have been pushing the edge of the envelope in recent years and interviewed Raphael Weinroth-Browne (27) about this phenomenon: ‘We’re gonna be the cello in a whole bunch of unexpected places!’ by Robert van Gijssel

urking in an obscure corner of the YouTube archives is a fascinating video of an L anonymous cellist called ‘Apocanaut’. Shrouded in a monk’s habit, he plays a solo from the doom metal classic Dopesmoker by American heavy metal Sleep. Te body of his six string, electric cello looks like a prop straight of the set of Game of Trones.

It’s not great, but the rendition is almost as terrifying as the original. Jagged and sharp like a chainsaw, the cello rips straight through your emotions – and your eardrums – just as heavy metal and rock guitars do. But in actual fact, it’s not that odd that the cello is being used increasingly frequently for darker music genres with a high specifc gravity.

And it’s not a new phenomenon either; many of us still remember the ’s cellist Mike Edwards striking an emotional chord with his live Bachlike intermezzos and the cello that made Eleanor Rigby one of the most beautiful Beatles songs ever. In recent years, we’ve been hearing more and more cello, for example in AC/DC’s Tunderstruck and Highway to Hell, and Led Zeppelin’s Whole Lotta Love, performed by artists such as the Croatian duo 2CELLOS. And last, but by no means least, the cellofcation of the oeuvre is being spearheaded by the astounding Finnish cello heavyweights from who performed at the Cello Biennale in 2014.

Vitality Te Canadian cellist Raphael Weinroth-Browne descends deeper still into the musical depths, which in doing so seems to give his instrument an extra shot of adrenalin – as if it needed it! His performances at CELLOFEST – a parallel Cello Biennale programme organized in collaboration with Bimhuis – will be showcasing the instrument’s vitality and heralding in a new era with Weinroth-Browne as one of its pioneers. In his project Te Visit, Weinroth-Browne – a classically trained and highly talented classical cellist – plays his cello to enchantingly and hauntingly romantic with singer Heather Sita Black. Kamancello – a duo comprising Weinroth-Browne on cello and

46 CELLOFEST 2018 47 BartolomeyBittmann Kamancello Morris Kliphuis

Nesrine Belmokh Mela Marie Spaemann Eric Longsworth Svante Henryson Tom Kliphuis Sietse-Jan Weijenberg

IranianCanadian Shahriyar Jamshidi on kamanche – interweaves not only several genres, but themselves with more musical styles than previous generations did, in part because there’s just also ageold traditions and cultures. so much available on the internet.’ And indeed, videos of Apocalyptica or 2Cellos’ hardcore cello performances do indeed Weinroth-Browne sees the cello as an actor who can play many roles and take on any number provide plenty of food for thought. ‘Nowadays, cellists no longer grow up in the isolation of identities. ‘Te cello can express itself in melodies, but also in aggressive rifs,’ he explains. of the classical music world and classical performance techniques. Tis bodes well for the ‘It commands a whole spectrum of moods and textures ranging from enchanting beauty to instrument. Exciting times ahead. What's more, I think we're gonna be seeing the cello in a hardcore, gutwrenching nonconformism. Tis is why the cello fts in so well with so many whole bunch of unexpected places!’ musical genres.’ According to Weinroth-Browne, it’s a understandable that the cello is being used more ofen for darker genres than for superfcial, lighthearted pop tunes, ‘Te cello has an It’s also not that surprising that the cello of all instruments remained lodged in the classical infnite ability to sound genuinely mournful and distressing. Its delicate timbre speaks directly music world for so long. Te cello isn’t an instrument you just pick up and play – you need to the listener at an emotional level.’ proper, and generally speaking, classical teaching. Leave a cello lying around in a train station and your average commuter isn’t going to stop and play a ditty on it as they perhaps would on Character Roles ‘station pianos’, as commonly found at Dutch train stations. Anyone can string together a few What Weinroth-Browne means is that you can turn of your intellect because the cello generally neoclassical notes from a flm soundtrack on piano with a little bit of practice. Try doing that strikes you right in your soul, whether it’s a Bach cello suite or a heavy metal ballad. And on a cello! Tis is partly the reason the cello doesn’t just randomly appear in popular music looking at the CELLOFEST programme, we do indeed fnd the cello cropping up in a wide because few if any multiinstrumentalists in the pop world are ever likely to just grab the cello variety of musical styles, or as WeinrothBrowne would say ‘character roles’. You’ll fnd the cello for a refrain or two here or there. serenely accompanying a singersongwriter or boisterously interpreting unwieldy, improvised jazz rifs. You’ll hear the cello on its musical travels to Africa, passing through on the According to Weinroth-Browne, the cello’s classical DNA means that if and when the cello is way, and then on to the Middle East. actually used, then it’s for good reason – to make a statement. Take the Canadian cellist himself for example. Weinroth-Browne (27) was born in Ottawa and studied cello at the conservatory Weinroth-Browne thinks something quite special about the cello has been emerging or in his hometown, soon becoming an extremely talented classical cellist, a highly soughtafer evolving over the past few years and this is good news for the profession and public alike. ‘Tere soloist and a formidable adversary at cello competitions. are several amazingly innovative cellists around who are taking the instrument in completely new directions. What’s really great is that the cello is relatively ‘unknown’ in popular music Bollywood and crossover styles. Not like guitar or saxophone. Tis means there’s so much to explore, to While he was still studying, Weinroth-Browne made a point of accepting every job that was discover and to experiment with. It’s virgin territory. As a progressive cellist, you can actually ofered him as a paid cellist. Not only to earn an extra crust, but also to broaden his horizons. be really original, and I think a new generation of cellists gets this. Tey’re familiarizing He ended up playing Bollywood music, heavy metal and pretty much everything in between.

48 CELLOFEST 2018 49 Annie Tångberg David Fernández

Arnold Dooyeweerd Emile Visser Maarten Vos Harald Austbø Jörg Brinkmann Abel Selaocoe Maya Beiser

He’s accompanied spokenword performances and dived into free jazz improvisations and all sound of the kamanche, an old Persian string instrument that – with a little imagination – the while he’s never once forsaken his classical background, training and technique. Weinroth- sounds like an ancient ancestor of the cello or viola da gamba. Last year, the duo released a Browne explains, ‘A classical training gives you the foundation you simply need to be able to wonderful debut album of improvised pieces in which the instruments chase and lead one play the cello and make it do what you want it to do. Te better you are across all its registers, in another into uncharted territories. all its techniques and with all its sounds, the easier it is to express yourself in whatever musical style you choose, especially in improvisational music.’ Once again, typical of his craving for experimentation, Weinroth-Browne became fascinated with the kamanche’s unpolished sound and simply couldn’t wait to enter into a dialogue with But he also adds that the cello’s natural habitat – the classical world – can also be quite this instrument, ‘Te kamanche’s range is similar to that of the violin but has a very diferent inhibiting. ‘If you spend too long studying classical pieces, you can become deaf or blind to timbre. It’s raw and incredibly expressive. It forces you to listen, there’s no escaping it. In quiet other types of music.’ It’s all too easy to remain immersed in the great works of the classical pieces, it ‘rustles’ and in its higher registers, it ‘weeps’ with lament and sorrow.’ and contemporary masters and to lose touch with the dynamic world of music around you and Weinroth-Browne discovered many similarities, as well as diferences, between his instrument your classical bubble. ‘If you want to play other styles of music, you’ve really got to familiarize and the kamanche, but above all the wealth of musical possibilities that exist when forging a yourself with them well and be genuinely interested in them. And preferably, hang out with new path together ‘hand in hand’. Both players were astonished with the results, even afer a few musicians from other cultures, jam and improvise with them, and discover and make new sessions, ‘Te kamanche and the cello’s respective rough and smooth sounds mixed beautifully. music together!’ In their middle registers, the instruments blend almost indistinguishably, becoming one. But from a distance, the overall sound almost has an orchestral sound and weight.’ And this is exactly what Weinroth-Browne does. He’s equally at home at a German gothic rock Kamancello’s music is reminiscent of a meditative journey through space and time, yet another festival as he is on stage in a major concert hall. ‘I’ve come to realize that I actually like standing new destination for the cello. Listen, for example, to their wonderful improvisation Serpentine, with one foot in the classical and one foot in the nonclassical world and combining musical available on YouTube. infuences from these totally diferent worlds.’ Weinroth-Browne isn’t the only such cellist. Te At CELLOFEST, we’ll be accompanying the cello on its journey or at the very least getting a CELLOFEST programme is jampacked with classically trained cellists who have broken free glimpse of what the cello’s future holds in store. • of their classical shackles.

Mystique At CELLOFEST, perhaps the most beautiful example of this new and adventurous, multicultural cello evolution is the Kamancello project – a duo that Raphael Weinroth-Browne formed with Shahriyar Jamshidi, an Iranian musician and composer who emigrated to Canada in 2012. In Kamancello, Weinroth-Browne blends his cello’s sound with the mystical and anguished CELLOFEST is powered by Sena Performers

50 CELLOFEST 2018 51 Children ‘Safe & Sound’ at the Cello

Cellist Fabienne van Eck has been working for Sounds of Palestine and Musicians without Borders on the West Bank (Palestine) for over ten years now. Every day, she teaches dozens of children and witnesses frsthand how music is giving them hope and selfconfdence, ‘It gives children so much strength once they realize they speak a language that unites them with musicians from all around the world.’

You could equally call Fabienne van Eck (35) either a ‘cellist with a mission’ or a ‘ peace activist with a cello’. ‘A peace activist ... my goodness!’ responds Van Eck laughing on the other end of the line from Bethlehem. ‘I think it’s challenging enough if I succeed in just making a small diference in the daily lives of the children and their families around me.’ Te cellist has been living on the West Bank, Palestine, where she teaches dozens of children music, for more than a decade. ‘Most of them live in Palestinian refugee camps and are growing up in dismal conditions – poverty, poor housing and violence.’ Peace seems a long way of, yet Van Eck is principally concerned with making the children’s lives in this region just a little more bearable. She does so as part of an intensive education programme established by Sounds of Palestine, one of two organizations that Van Eck works for.

‘Te project started in 2012. Many of the kids I teach now I’ve known since I taught them in workshops when they were in nursery school. We mentor these kids until they’re 18 years old, when – if they want to – they too can become trainers. But they can start as soon they go to nursery school and when they’re six or so years old, they can start playing an instrument like the cello and get free music lessons playing in groups and an orchestra. Van Eck explains how, ‘… several times a week afer school, we pick the kids up from various by Christel Don local refugee camps and take them to a safe place for their music lessons. Tey also get a healthy meal and playtime outside between lessons. It’s almost like family.’ Besides her work on the West Bank, Van Eck also teaches regularly ‘on the other side of the wall’ at the music school and at the Magnifcat Institute in the old city of Jerusalem. Isn’t

52 Children ‘Safe & Sound’ at the Cello 53 Cello Biennale invited Fabienne van Eck and eight children from Palestinian refugee camps to attend this year’s Biennale. They’ll be performing with the Hello Cello Orchestra in the Grote Zaal on Saturday, 20 October at 15.30. Musicians without Borders also works with the Armonia Cuscatleca youth orchestra from El Salvador, a project established in the heart of an area ravaged by gang warfare. Cello Biennale also invited project initiator Pablo Mendez Granadino and six children from El Salvador to play with the Hello Cello Orchestra as well. If you’d like to fnd out more about Fabienne van Eck’s work and Musicians without Borders, please come to ‘Let’s Talk: The Power of Music’ in Bimhuis on Sunday, 21 October at 15.30.

Fabienne van Eck

that like two extreme worlds? ‘You’d be surprised, all my pupils there are Palestinian too. Te painkilling hormone to be produced in her body. Whether that’s true or not, I don’t know, but major diference is that I give private lessons there and their parents are more involved. On the she was totally convinced at any rate.’ West Bank, parents sometimes ask if their kids will be having sports lessons next year instead of music.’ She laughs. ‘Tose parents haven’t twigged yet that it’s an intensive, long-term music A Universal Language education programme.’ Van Eck thinks it’s difcult to tell whether music really has that much of a healing efect on the children or not, ‘Ofen, you can only process trauma once you’re in safe and sound Grounded surroundings, and that’s not the case for these kids. Te army regularly storms the refugee Van Eck works with all sorts of instruments during her lessons, but she ofen notices that camps, pupils have parents with problems and several even have family members or older the cello has a special efect on her pupils. ‘For instance, there was this one boy with serious siblings in prison for various dubious reasons.’ One thing Van Eck knows for certain is that the behavioural problems. His mother beat him and ofen didn’t know how to deal with him. music lessons give the children hope and bolster their selfconfdence, ‘Tey learn a language For a year, we tried teaching him violin. Tat didn’t work at all. So, I sat him at the cello and here that sets them apart from others. surprisingly enough, he started to behave a lot better.’ In January, several members of the Philharmonie de Paris visited us here. Tat was a real How does she explain this? ‘A cello helps you get grounded. You have to sit down, feet on the eyeopener for our kids because they saw there were other people too making music. Ten the ground, cello between your legs and adopt a very stable stance. Children feel ‘safe and sound’ penny dropped, “So, it’s not just Fabienne playing music here with us”. Te outside world really seated at the cello.’ existed for them at that point. It gives children so much strength once they realize they speak Van Eck gives another example, ‘When we were setting up this project in 2012, we were still a language that unites them with musicians from all around the world.’ holding aferschool lessons in the refugee camp itself, not in a safe location outside the camp like we do now. One day, the army stormed the camp during our lessons. One girl in our In addition to Sounds of Palestine, Van Eck also works for Musicians without Borders. ‘Tis group panicked. I tried everything to calm her down – calling with her mother, talking to a programme reaches about four thousand kids every year. It involves playing at schools and in social worker – but nothing helped. Ten I put a chair next to mine and handed her a cello hospitals, and working with children with special needs, e.g. deaf or traumatized children with and a bow. I was fabbergasted, she simply took them and started playing with the rest of the behavioural problems. It’s not so much about teaching these kids to play an instrument but group. Within half a minute, she was laughing and at the end of the day went home as happy providing them with a form of therapy. For example, one week I could be giving a workshop as anything.’ to four hundred children in a remote village and the next I could be training social workers to use music to help deaf children as part of their Music as Terapy programme.’ It’s difcult to say what the power of the cello is exactly. ‘Maybe it has something to do with Te two organizations each have their own particular approach, but they join forces on a the cello’s sound and because it resembles the human voice,’ Van Eck suggests. ‘I once had a regular basis, as Van Eck explains, ‘We share instruments, premises, teachers and even an pupil, a 64-year-old woman, who sufered from chronic pain. She used to take cello lessons accountant.’ because she was convinced it helped relieve her pain. I’ve never forgotten her explanation. She compared the cello’s vibrations to those of human moaning and thought they caused a

54 Children ‘Safe & Sound’ at the Cello 55 In Musicians without Borders’ own By providing weekly music lessons to words, it is their mission to bridge children, Sounds of Palestine strives to bring divides, connect communities, and about longlasting social change. Hundreds heal the wounds of war using the of children from the Aida, al-Azzeh and power of music. The children receive Dheisheh refugee camps in and around positive, artistic experiences and get Bethlehem learn to appreciate and even play the opportunity to develop their own music themselves. Several days a week, they creativity and social skills. Projects receive lessons in music theory, they learn are run by local music teachers and how to play an instrument in groups and in other volunteers. Approximately an orchestra, they dance, and they sing in four thousand children participate in a choir. Currently, 100 nurseryschoolaged the various programmes organized children attend workshops and 135 older throughout Palestine every year. For children attend the afterschool education BOOK & MUSIC THEATRICAL PERFORMANCE more information, please visit the programme. For more information, please Musicians without Borders website at visit the Sounds of Palestine website at www. www.musicianswithoutborders.org. soundsofpalestine.org. ‘De familie Decibel woont in een Irreplaceable Oddly enough, as a teenager Van Eck used to secretly dream of working at a music school not all that diferent from the one where she now works. ‘I had a Mexican girlfriend and we used to violoncel’ about opening a school in Mexico where she’d cook healthy meals and I’d teach cello. We were young and naïve but perhaps we felt even then that a traditional career in the music world How did this family end up there, was not my thing.’ Yet it took quite a while before she embarked on her current path. It was and what are they up to? Find out in 2006 to be precise, during the war with Lebanon. Van Eck explains, ‘I was giving my frstever the picture book created by Micha children’s music workshop at a summer camp in South Hebron. Tis was the moment I came Wertheim and Cristina Garcia Martin, to the sudden realization that no one else was going to continue my work if I didn’t continue it commissioned by the Cello Biennale: myself. Of course, there were many other volunteers, but no musicians.’ Does she ever feel that she’s let the opportunity for a career as a cellist slip by? ‘No!’ she exclaims. De familie Decibel. ‘Of course, I studied really hard in the Netherlands and wanted to be the best I could, but I always had this looming sense that I was replaceable. Tere were so many cellists just like me Micha additionally created a children’s show and even better.’ titled Spruce and Ebony. To do this, he has spent the past few years taking cello lessons Meanwhile, over the past ten years, she’s grown to become a key fgure in various programmes intensively with big names such as Mstislav at home in Palestine and abroad. Tis makes her virtually irreplaceable. ‘Tat’s also a risk,’ Casals, Emanuel Harisson, and Zara and admits Van Eck. ‘We’re attempting to get more people trained to do what I do to ensure Beatrice du Pré. Just like in ‘real’ concerts, continuity if I’m not around anymore one day.’ However, this is proving difcult. ‘I know the the children and their parents are expected culture well, I speak the language and I know a lot about the ins and outs of society here.’ to sit still and be quiet throughout the whole So, no worries for the time being, she’s not about to go anywhere else, anytime soon. She performance. laughs. Micha is performing together with Fay Lovsky. Tere’s so much to do, but what would she do with €1 million? ‘I’d buy a piece of land and build a school that we’d all ft into. Currently, with Sounds of Palestine, our classrooms are The book De familie Decibel and the Spruce jampacked and during orchestra rehearsal I have to be careful not to swipe everyone’s music and Ebony show are suitable for children of of their stands while .’ • The show for young children Spruce and 4 years old and up. The book is published Ebony will take place three times during the by De Harmonie, and can be purchased in Cello Biënnale, in the Kleine Zaal: Saturday, October 20 at 10.30 and 12.00 higher end bookstores and of course at the Tuesday, October 23 at 11.00 festival’s book market.

56 Children ‘Safe & Sound’ at the Cello Buiksprekers van de geest 57 But in reality, I wouldn’t even dare to call it a ‘choice’. I didn’t choose to play cello because I was naïve or because I thought I could save the world – it wasn’t actually a choice. My parents were Roger Marie musicians and if I hadn’t drowned that night my children would have grown up to become musicians too.

I was making music long before I comprehended that you could even make decisions in life. Bricoux It’s perhaps because the choice had already been made for me that I grasped all too readily that making choices didn’t mean you could alter your fate.

My teacher at the conservatory in Monaco compared music to the sea’s waves. At a cursory glance, the sea doesn’t appear to alter its form, but the closer you look you realize that no two waves are the same. by Micha Wertheim Every wave is diferent and thus the sea is constantly changing. Which is why a melody never sounds the same twice. He believed that playing an instrument was akin to sailing the seas in an as controlled fashion as possible.

To illustrate this particular point, he once laid my cello carefully on its back on the foor with its bridge and strings pointing upward. He took my bow by each end in both hands and paddled with it in mid-air as though my cello were a canoe.

‘Te only control we have,’ he said ‘is how we place the paddle in the water, how we attempt to balance the canoe on the sea’s waves.’ ’ll never forget how Wallace picked up his music stand, gathered up his music from the foor, Iwedged his violin back under his chin and started playing again. Te energy of his bowing Every stroke has an efect – even on the waves that hit the beach thousands of miles away long was as equally unfinching and irrefutable as the shock that had just ripped through the dining afer we’re dead and buried. But this doesn’t mean we have any control over the sea. At best, hall seconds before. Without so much as a word, we followed suit. you could assert that by paddling we at least have the illusion of control. And you could even go as far as to say that this illusion gives us the sense of balance that we need in order to avoid It’s ofen asserted that we acted like a bunch of imbeciles who kept on playing while the deck becoming overwhelmed by despair. began tilting and water began pouring in. It’s ofen said that we were so arrogant we simply didn’t believe we’d perish. In reality, the exact opposite was true. Tis way of thinking goes horribly wrong the instant people start to believe in the illusion. Te instant they start truly believing that they’ve mastered the ocean. I don’t think any of us really believed the stories they told us when we embarked, ‘Unsinkable!’ they said. Don’t make me laugh. Te notion that man can make something indestructible is so Tis is the diference between making music and making noise. Te diference between living contrary to what we do. Or did, I should say. For that night we went down with the ship to the and surviving. What we were doing when panic broke out in the dining hall was living, while bottom of the ocean. everyone else around us was surviving. In essence, that’s what we’d always been doing ever since we’d taken hold of our instruments – living, not surviving. Maybe we could have survived if only we’d stopped playing and gone in search of a lifeboat. Or maybe not. But then we’d have had to have pulled others of our boat. You have to fght to In that respect, the night of 15 April 1912 wasn’t all that diferent to the night of 14 April 1912. survive. Continuing to play wasn’t any particular act of heroism and certainly wasn’t naivety. We were We’d made the decision not to fght years earlier. We’d decided to ‘live’, not ‘survive’ – long doing what we’d always been doing. Just as an iceberg always does what an iceberg does. before we ever became an ensemble. Anyone who wants to ‘survive’ goes into military service, politics or banking – all honourable professions – but we’d made a diferent choice.

Tis short story appeared in the lastever edition (#15/#16) of the Dutch literary magazine De Titaan.

58 Roger Marie Bricoux 59 Nearly every day… Free extra events BACH&BREAKFAST and the Atlas Ensemble, Kian Soltani with his Festival market and cello exhibits develop their sound. The KlankKas functions as Six days of the festival start out the way any day Persian Ensemble Shiraz, and a special double The hall and foyer of the Muziekgebouw are flled a testing space for cellists, cellos, bows, and should: with a light breakfast of freshly pressed bill of Roel Dieltiens with Flemish singer Willem with sounds made by instruments and bows strings. orange juice, a warm croissant, and a cap- Vermandere and Lidy Blijdorp & Friends. by various cello and bow makers. The Cello puccino, followed by a performance of one of Biënnale enthusiastically supports the making of House Music ’s six cello suites. Every PERFORMANCES FOR CHILDREN new instruments and bows, and the exposition For the Dutch premiere of Michael Gordon’s one of these is performed by a diferent grand- AND TODDLERS at the festival is specially meant for makers of House Music for cello solo, a special house is master. Perfect for cello students, cello fanatics, For the youngest visitors of the Biënnale, Micha new instruments. In addition to the luthier exhibit, built on the Muziekgebouw’s terrace. The house classical music lovers, and people who like to Wertheim creates a children’s performance in there are workshops where new instruments and fts a maximum of 30 people at a time, and every ‘catch’ this just before going to work. The suites the Kleine Zaal, based on his new children’s bows are being worked on throughout the entire group gets to see an exclusive performance of are performed by Matt Haimovitz, Harriet Krijgh, book De familie Decibel (The Decibel family). festival. the piece. Michael Gordon composed the piece, Jordi Savall, Kian Soltani, Arnau Tomàs, and For children up to 6 years old and up, Cello Oc- which is 60 minutes long, after a commission Sietse-Jan Weijenberg. Breakfast is included in tet Amsterdam have their new performance Cello These are the luthiers who will appear at the by Cello Biënnale Amsterdam. American cellist the ticket price. The bufet opens at 8:45! Warriors, a production by the Octet and Oorkaan Cello Biënnale 2018: Stijn Van Aerschot, Erik Ashley Bathgate is performing the work four which premieres during the Biënnale in Bimhuis. Buys, Hans-Peter den Daas, Savine Delaporte, times. MASTER CLASSES Camille Dolibeau, Tanguy Fraval, Guust François, Gordon: ‘I intended it to be performed in a What could a cello student want more than Only on Sunday: Tobias Gräter, Andreas Grütter, Henk te Hietbrink, small, intimate setting such as a living room. I receiving a lesson from their idol? During WORKSHOP SOUNDLAB ‘CELLO Stephan Krattenmacher, Gudrun Kremeier, drew inspiration from a time when radio, open the Cello Biënnale, 36 cello students from all SPECIAL Matthieu Legros, Urs Maechler, Thilde van Norel, air concerts and CDs didn’t exist. Music was over the world travel to Amsterdam to play in A workshop in which you experience what it’s Kai Thomas Roth, Saskia Schouten, Boris something that was performed and enjoyed in master classes. The master classes are given like to play the cello, and create new music us- Sverdlik, Nico Plog, Jessica de Saedeleer, Jan the home. It’s a series of short works that were by 12 grandmasters who themselves appear in ing SoundLAB instruments. You can dance to Strumphler, Hendrik Woldring, Peter Zoon. inspired by guitarists... blues guitarist B.B. King, performances at various occasions during the sounds from the KosmiX, and learn how to cre- surf guitarist Junior Brown and even a few heavy festival. Every master class is two hours and ate your own piece of music with the sounds of Comparing and the KlankKas metal guitarists.’ ffteen minutes long, and features three students the cello using a Loop Station. Want to fnd out During the festival, there will be three moments There is a limited amount of 90 getting a lesson. The students are accompanied more about SoundLAB? Go to https://www. where cellos and bows by diferent makers comlementa ticets aailale o fn on the piano by Noriko Yabe, Daniël Kramer, and muziekgebouw.nl/jeugd/SoundLAB/ are played and compared. British master Colin out how to get one, keep an eye on our Daniël Kool. The masterclasses take place on Who: Children (7+) accompanied by adults Carr (Sunday, October 21, 12:45) and Viennese Facebook page! six days during the festival, in Bimhuis and the When: Sunday, Oct 21 - 13.00 to 14.30 pedagogue and jury member of the National Cello Kleine Zaal of the Muziekgebouw simultaneously. Price: € 8,50 per participant Competition Reinhard Latzko (Monday, October Where: Atriumzaal 22, 15:30) play and compare newly built cellos. TAKE FIVE On Friday, October 26, Mick Stirling and Sietse- Five concerts at fve o’clock with surprising and Jan Weijenberg compare newly built bows in the unique hour-long programmes: the Bang on a Kleine Zaal. Can All-Stars, Jordi Savall with Tous les Matin du On Foyerdeck 1 you can fnd the KlankKas: Monde, Nomads featuring Jean-Guihen Queyras a glasshouse in which cellists can grow and

60 61 Let’s talk The Power of Music

Hello Cello Orchestra following the Oorkaan Method, a unique method Let’s talk (without borders) that presents music in a theatrical context for Musicians, musicologists, writers, and a scientist come together at four On Saturday, October 20, no less than 140 younger audiences. children and teenagers will play together in this To do this successfully, a performer needs more meetings in Bimhuis and the Kleine Zaal, to talk about the power of music booming orchestra. For this performance, the than a high level of playing on their instrument. To and the power of the cello. Hello Cello Orchestra rehearsed new music spe- start, they need to perform the music by heart, cially composed for this event by jazz violinist and not just as a soloist, but also as a part of larger composer Tim Kliphuis. The soloist of the pro- ensembles. The new production Cello Warriors gramme is Sietse-Jan Weijenberg, principal cellist by Cello Octet Amsterdam and Oorkaan, which On the power of music in life and n te inuence o music on te ain of the Netherlands Chamber Orchestra. premieres during this year’s Biënnale, is a great career Wednesday, October 24, 15.30, Bimhuis This year around, the Hello Cello Orchestra is example of the Oorkaan Method and its results. Friday, October 19, 15.30, Bimhuis LUDWIG, a collective of passionate musicians hosting 14 young cellists from the Palestinian Doing nothing is not an option for Jordi Savall. He and creative thinkers, and neuro-musicologist refugee camp Ayda and from an area in El Salva- Introduction Evening Concert, brings together Israeli, Palestinian, Turkish and Artur Jaschke explore the infuence of music on dor which is frequently terrorised by gangs. With October 25 Armenian, and Bosnian and Servian musicians on the development of the brain. What does music the help of Musicians without Borders, they are Music journalist Saskia Törnqvist will give an in- stage. Bang on a Can composers Julia Wolfe and do to the brains of people with dementia, or of able to travel to Amsterdam for a week, where troduction at 19.15 in the Grote Zaal, preceding Michael Gordon compose about mine workers people recovering from a medical procedure? they are introduced to the Cello Biënnale and to the Thursday Evening Concert, which features and 9/11, and Giovanni Sollima brings everything What happens in your brain when you are the Netherlands. two world premieres and one European premiere. together with music. Saskia Törnqvist speaks listening to your favorite music? about the power of music with the Artists and Presented by Ingrid Geerlings fute, Aisling Casey Students around the World Exposition fantasy cellos Composers in Residence of the Cello Biennale oboe, Arjan Woudenberg , Geerte de Koe A lovely tradition by now: cellists from interna- The Atrium is flled with Rob van den Broek’s 2018. violin, René van Munster cello, and Jesse Faber tional conservatoires travel to Amsterdam, im- fantasy cellos. Using his broad experience within bass clarinet. merse themselves in the festival, and present the creative and artistic feld, and his knowledge On the power of music in darker times themselves during the 12.45 lunch concerts in and experience of the traditional making of string Sunday, October 21, 15.30, Bimhuis On the magical power of the cello. Bimhuis or at the pre-evening concerts at 19.00 instruments, Rob van den Broek builds cello-like After the Kosovo War, peace activist and choral Friday, October 26, 16.00, Kleine zaal in the Kleine Zaal. instruments. These instruments emphasize form director Laura Hassler founded Musicians What makes everybody fall in love with that one This year’s Cello Biënnale will see students from over functionality. Without Borders, dedicated to help heal the instrument, able to draw numerous people to the conservatoires in Rome, Vienna, Zürich, Freiburg, scars left behind by the war through music. Muziekgebouw efortlessly for ten days? What is it The Hague, Paris, Montreal, Barcelona, Beijing, Parool Cello Lounge Cellist Fabienne van Eck has been working about the shape, the sound, the colour? Why do and Geneva. The best way to end a day at the Cello Biënnale for Musicians without Borders and Sounds of we describe its sound as melancholy, that sound Stay tuned to the festival announcements and the and to meet the cello in its most versatile form is Palestine in the Palestinian refugee camp Ayda that so easily touches upon the emotions? Writer website to fnd out about the fnal programme! the Parool Cello Lounge. During seven evenings as a musical community worker and cello teacher and programming specialist Mirjam van Hengel of the festival, part of the new Grand Café 4’33” for many years, and cellist Tjakina Oosting visits speaks with music scientist Henkjan Honing, On stage is transformed into a lounge with live music, terminally ill people in hospitals to bring music to poet and composer Micha Hamel, journalist Oorkaan works together with top musicians to cocktails, and a relaxed atmosphere. them. How do these people experience music? Persis Bekkering, and writer and psychologist create performances for young children. In this Johan Dorrestein talks to them about these Anna Enquist. Cellists Geneviève Verhage and workshop, the artistic director of Oorkaan, Cae- experiences. Maarten Mostert reveal inside experiences and cilia Thunnissen, showcases the work she has perform fragments. An exploration of the cello’s done for a number of days with young cellists seductiveness!

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An important part of the Cello Biënnale Participants: Amsterdam is the National Cello Kalle de Bie (Netherlands) Sara Novoselic () Liesbeth Bosboom (Netherlands) Renée Timmer (Netherlands) Competition. Talented cellists up to 27 years Carmen Bruno (Canada/Netherlands) João Valpaços (Portugal) old from or studying in the Netherlands may Irene Enzlin (Netherlands) Simon Velthuis (Netherlands) Tom Felgten (Luxembourg) Melle de Vries (Netherlands) present themselves to an international jury Miquel Garcia Ramon (Spain) Emma Warmelink (Netherlands) and audience throughout three rounds. Eline Hensels (Netherlands) Amke te Wies (Netherlands) Pieter de Koe (Netherlands)

In the First Round on Friday, October 19 and cello (Boccherini), Daniël Kramer or Daniël Kool, Concerto with the winner of the 2020 Oskar Back classes under the patronage of cellist Mstislav Saturday, October 20, all the candidates will piano. Competition, as soloists with the VU-Orchestra. Rostropovich and Marta Casals-Istomin. perform, among other works, Celloquio, a work for cello solo, specially commissioned by the The jury of the seventh National Cello Sena Cello CD Prize Gewa Cello Air 3.9 competition and composed by the legendary Competition will consist of: The Sena Cello CD Prize gives the winner the The three fnalists of the National Cello Dutch composer Theo Loevendie. Monique Bartels (Netherlands) opportunity to record a (debut) CD. The prize is Competition are each ofered the prize winning Kristina Blaumane (Latvia) sponsored by Sena Performers. cello case Cello Air 3.9 by Gewa Music. In the Second Round on Tuesday, October Matt Haimovitz (Israel/USA) 23, six selected candidates will perform – three Reinhard Latzko () Start in Splendor Prize Photoshoot with Sarah Wijzenbeek in the morning and three in the afternoon – a Arnau Tomàs (Spain) The winner of the Start in Splendor Prize receives The three fnalists are each ofered a photoshoot programme of Debussy’s cello sonata, a choice Chu Yi-Bing (China) the opportunity and the budget to develop their with photographer Sarah Wijzenbeek. from Beethoven’s variations over Ein Mädchen Sven Arne Tepl chairman (Netherlands) skills as cultural entrepreneur on a professional oder Weibchen, Judas Maccabaeus, or Bei secretary: Patty Hamel stage. The winner organizes and presents a D’Addario Kaplan Strings Männern welche Liebe fühlen, a slow movement concert for which they take up responsibility D’Addario has ofered each participant of the from a romantic sonata, either Reger (no. 3), Prizes for the programme and the promotion, as well National Cello Competition a set of Kaplan Brahms (no. 2), or Strauss, and a modern work First Prize: € 8.000,- as the fnancial side. This prize is awarded to a strings. composed by artist in residence Giovanni Sollima. Second Prize: € 6.000,- competitor who did not only reach the Second Third Prize: € 4.000,- Round, but also submitted the most interesting The National Cello Competition is sponsored by The Final Round takes place on Friday, October Incentive Prize: € 2.000,- project plan. the Prins Bernhard Cultuurfonds, Sena, Brook 26. Three fnalists will enter the stage to try Audience Prize: € 1.000,- Foundation, Stichting SEC, Stichting de Weille- and win the highest regard of the jury for their Prize for the best rendition of the Kronberg Academy Master Class Prize Ogier, dr. Hendrik Muller’s Vaderlandsch Fonds rendition of ’s cello concerto commissioned work: € 1.000,- This prize has been made available by the and J.C.P. Stichting. in A minor, with the Conservatory of Amsterdam Kronberg Academy in Germany, and allows the Symphony Orchestra led by Dirk Vermeulen. Two solo performances with orchestra three fnalists to follow master classes at the The winner of the First Prize is ofered a solo Academy. The Kronberg Academy is an extremely In the frst two rounds, the competitors will performance with the Netherlands Philharmonic selective academy for string players, focused on play with their own accompanists, or with the Orchestra on Sunday, January 19, 2019. In July coaching international top talent. The Academy competition accompanists: Geneviève Verhage, 2020, the winner will perform Brahms Double was born 20 years ago as a result of cello master

The laureates of the National Cello Competition are invited to play concerts in various August 2019: Grachtenfestival, festival performance concert series all over the Netherlands. August 2019: Concert in Rising Stars, Zeister Muziekdagen Sat, October 27, 2018: Cello Coupé, Muziekgebouw Fri, October 25, 2019: Sneak Preview Cello Biënnale Amsterdam 2020, Muziekgebouw Wed, October 31, 2018: Lunch Concert, Kleine Zaal, Sun, January 12, 2020: Recital, Oude Kerk Oosterbeek Sun, November 18, 2018: Theater de Veste, Delft Sun, January 19, 2020: Sunday morning concert with Nederlands Philharmonisch Orkest, Grote Zaal, March 16 to 21, 2019: Kamermuziekfestival Schiermonnikoog Concertgebouw Thu, March 21, 2019: Happy Bach&Breakfast in collaboration with 24Classics Sun, February 23, 2020: Cofee concert, De Flint Amersfoort Wed, May 1, 2019: Laureate concert in collaboration with Oskar Back and YPF, Muziekgebouw Sat, July 11, 2020: Laureate concert in collaboration with Oskar Back and the VU-Orkest, Muziekgebouw May 2019: Start in Splendor, Splendor Amsterdam (for winner Start in Splendor Prize) October 2020: Concert at the Cello Biënnale Amsterdam 2020, Muziekgebouw July 2019: Wonderfeel, festival performance Season 19/20: Recital, De Goudsche Schouwburg July/August 2019: Delft Chamber Music Festival, festival performance Laureates are also invited to play in house concerts for friends of the Cello Biënnale.

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Te Opening Concert Tis Cello Biennale’s opening concert is set to be a scintillating spectacle. It’s going to be a rollercoaster ride showcasing not only the cello’s versatility, but also the diversity of our cellists’ virtuosity. Kian Soltani – currently one of the world’s most talented cellists – will be opening this seventh edition with Schumann’s romantic Adagio and Allegro. A step in the evolution of the horn – namely the advent of the valve – had lent this instrument far greater versatility. Tis so inspired Schumann, he wrote this piece specially for horn. Within a day, his manuscript was complete. His beloved wife, Clara, enthusiastically wrote the following entry in her diary, ‘A magnifcent piece, fresh and passionate, Jordi Savall just what I like!’ Schumann’s publisher urged him to write a version for cello and piano, which he did immediately.

19.30, Entreehal Robert Schumann (1810-1856) No Biennale would be complete without the Cello Adagio and Allegro in A fat major, opus 70 (Soltani) Octet Amsterdam – an ensemble that has graced us Opening with their presence since the very frst edition. Joey of the Cello Biënnale Joey Roukens (1982) Roukens wrote Angeli (‹Angels›) specially for them. Angeli* (Cello Octet Amsterdam & Wishful Singing, world ‘Recently, I’ve been composing several energetic Amsterdam 2018 premiere) works, but there’s a serene, more spiritual side to me, too. I think the ability to ofer comfort is the greatest Antonio Martín y Coll (1650-1734) power music has to ofer.’ During discussions, an idea 20.15, Grote Zaal Diferencias sobre la Folia (Savall) arose to combine the Cello Octet with the fvepart female a capella Wishful Singing. Roukens selected Opening concert Diego Ortiz (1510-1570) two passages from the Requiem Mass’s comforting Kian Soltani cello Romanesca & Passamezzo ‘In Paradisum’ (‘Into Paradise’) and used the cello’s Ashley Bathgate cello Anonymous higher register to emulate the human voice. Giovanni Sollima cello Canarios (improvisations) Jordi Savall is our artist in residence and Nicolas van Poucke piano Antonio Valente (circa 1520-1581) with Hespèrion XXI he’ll be performing Hespèrion XXI: Gallarda Napolitana and improvisations Folías & Canarios –traditional early music from Jordi Savall viola da gamba and direction Spain and Latin America. In the 16th century, Pedro Estevan percussion interval musicians loved improvising around a familiar Ashley Bathgate Andrew Lawrence-King harp theme. Spanish folías were particularly popular, Rolf Lislevand and guitar Michael Gordon (1956) as they allowed for endless variations rooted Tineke Steenbrink harpsichord Industry (Bathgate) in a repetitive bass theme. In the same period, Caroline Kang cello canarios – dances from the Canary Islands – were Our second artist in residence Giovanni Sollima Mirko Arnone theorbo Giovanni Costanzi (1704-1778) also becoming more popular. Savall brings the concludes with a taster of his fellow countryman Cello Octet Amsterdam: Sanne Bijker, Claire Sonata in G minor (Sollima) 16thcentury art of improvisation vividly back to life. Giovanni Battista Costanzi’s compositions. Bleumer, Rares Mihailescu, René van Munster, - Cantabile Tis 18thcentury virtuoso cellist from Rome was Alistair Sung, Esther Torrenga, Geneviève - Allegro Bang on a Can cellists Ashley Bathgate will then nicknamed ‘Giovanni del violoncello’ (‘Johnny Verhage, Lieselot Watté - Presto catapult the audience back to the here and now with Cello’) at an early age by virtue of his exceptional Wishful Singing: Maria Goetze, Marjolein Stots, Michael Gordon’s Industry. In 1992, Gordon drew skills and youthful energy. He frst developed the Indra van de Bilt, Anne-Christine Wemekamp, Frank Zappa (1940-1993) inspiration from the Industrial Revolution, imagining thumb position to facilitate playing notes in the cello’s Marjolein Verburg Wild Love (Sollima) an enormous, steel cello – as big as a football pitch highest register. His Sonatas in G take cello playing Students of the Accademia Nazionale – foating in mid-air. He used stateofheart methods to heights deemed extreme even by today’s standards di Santa Cecilia of communication (at least for early 90s’ standards) and its broken chords – though commonplace at Members Nederlands Philharmonisch to compose this piece in collaboration with cellist the time for violin – were new for cello. Yet their Orkest Maya Beiser – faxing his sketches and playing his virtuosity remains subordinate to one thing – * This work was commissioned by the Cello Biënnale compositions to her over the telephone! expressivity. • Amsterdam with fnancial support from the Performing Arts Fund (FPK).

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10.00-16.00, Grote Zaal 19.00, Kleine Zaal NATIONAL CELLO COMPETITION Students around the World First Round Keep an eye on the website for the fnal schedule: 20.15, Grote Zaal www.cellobiennale.nl (1743-1805) Nederlands Sonata in A major, G13 - Allegro moderato Philharmonisch - Largo - Allegro Orkest Theo Loevendie (1930) Giovanni Sollima cello Celloquio for cello solo* (world premiere) Anastasia Kobekina cello Frédéric Chopin (1810-1848) Victor Julien-Laferrière cello Cello Sonate in G minor, part 2 and 3: Scherzo Nederlands Philharmonisch Orkest and Largo Alexander Joel conductor Giovanni Sollima Gabriel Fauré (1845-1924) Papillon Giovanni Sollima (1962) Antidotum Tarantulae XXI, Concerto for two cellos and orchestra (Sollima and Kobekina) 15.30, Bimhuis LET’S TALK Presentation of the Anner Bijlsma Award The Power of Music I to Giovanni Sollima Musicologist Saskia Törnqvist speaks with interval Jordi Savall, Giovanni Sollima, Michael Gordon and Julia Wolfe about the power of Antonín Dvořák (1841-1904) music in their lives and career. Cello concerto in B minor, opus 104 (Julien-Laferrière) - Allegro 17.00, Huiskamer - Adagio ma non troppo House Music - Finale: Allegro moderato Michael Gordon composed a new piece for cello solo, specially for the Cello Biënnale. The composition is meant to be performed in a living room, so a small house was built on the terrace Anastasia Kobekina of the Muziekgebouw, which allows a maximum of 30 listeners to attend each performance. Ashley Bathgate cello 20.30, Bimhuis Michael Gordon (1956) CELLOFEST 2018 New work** (world premiere) The Visit Raphael Weinroth-Browne cello 17.00, Kleine Zaal Heather Sita Black voice Music for Galway: Discover Cellissimo BartolomeyBittmann From April 25 - May 3 2020 a new festival will Matthias Bartolomey cello take place in Ireland as part of Galway 2020, Klemens Bittmann violin, mandola European Capital of Culture. The festival presents itself for the frst time at the Cello Biënnale in word, * This work was commissioned by the Cello Biënnale music and video with Artistic director and pianist Amsterdam with fnancial support from the Performing Arts Fund (FPK). Finghin Collins and cellists Marc Coppey and ** This work was commissioned by the Cello Biënnale Christopher Ellis. Amsterdam with fnancial support from the Amsterdams Fonds voor de Kunst. 68 Victor Julien-Laferrière69 19 Fri 19 Oct

National Cello Competition – First Round Te Netherlands Philharmonic Orchestra Te cellists participating in the frst round of this viewed as a melodious instrument – and quite rightly Antidotum Tarantulae XXI sounds undeniably Using the solfeggio syllables re, mi, fa, sol and la, year’s National Cello Competition (NCC) all qualifed so – but in Celloquio I’ve endeavoured to highlight contemporary with its stamping rhythms, prominent Da Vinci wrote an ingenious love sonnet, ‘amore having frst performed in a preliminary round. On rhythmical aspects instead. It’s not its cello technique percussion and ofentimes caricatural brass passages, solo mi fa remirare, sola mi fa sollicita, sola mi fa 27 June, they played extracts from various Bach cello that makes this piece difcult, it’s tapping its body yet Giovanni Sollima’s concerto for two cellos and sperare, amore mi fa sollazzare’ (‘Only love makes suites, as well as Dvořák's popular Rondo in G and with absolute rhythmic precision that’s so tricky. It orchestra is interwoven with countless references to me remember, it alone fres me up, it makes me hope, ‘Scherzo’ from Max Reger’s Suite No. 3 in A minor. demands that the cellist switch frequently and rapidly the past. Sollima wrote, ‘I feel the past as a magnetic love amuses me’). During the preliminary round, the jury – between arco, pizzicato and tapping. If he or she fails center that is sending out signals.’ Although he Whereas Sollima succeeds in getting the cello to sing Monique Bartels, Reinhard Latzko, Sven Tepl and to tap rhythmically, then it defeats the whole purpose.’ was fully booked as a cellist at the time, he started in its higher register, Dvořák – in his own words Jan Ype Nota – selected the most suitable participants composing this piece in 2014 at the request of – had to make do with soloists who at best simply to perform at the Cello Biennale. Few classical music lovers associate Frédéric Chopin conductor who thought it would be squeaked. Dvořák didn›t really think the cello was with the cello, but cellists know full well that ‘Largo’ a good idea to pair up his fellow countryman and suitable as a solo instrument, but this perhaps had Te programme for the frst round includes music from his Sonata in G is one of the most moving pieces friend with YoYo Ma. He recounts, ‘Writing music something to do with the fact that 19th-century spanning four centuries and wouldn’t be complete if ever written for cello and piano – the cello being the while traveling, has its pros and cons: on one hand, orchestras were becoming steadily louder. it didn’t include music by Luigi Boccherini. He had only instrument for which Chopin composed solo new places, spaces, faces, smells, cultures, languages While in America, however, he changed his mind mastered the cello by a very young age and was only works other than piano. Tis exception is no doubt infuence the writing but it doesn’t always work. On about the cello. Te story goes that he announced 13 years old when he made his solo debut playing a due to the composer’s intimate friendship with cellist the other hand, the traveling dangerously divides the over the deafening roar of Niagara Falls that he cello concerto. It’s believed that he studied cello in Auguste Franchomme. Anner Bijlsma referred to this diferent phases of composition, and this happens to wanted to write a piece in B minor, which ultimately Rome under Giovanni Battista Costanzi – one of the sonata as ‘a conversation between two old friends’. It me more and more ofen. In the case of this piece, was the key he choose for his cello concerto. A most prominent cellists of the era. In 1770, Boccherini will be up to the young cellists performing to bring the time between the sketch of a fragment and the more probable story is the infuence of attending a moved to Madrid to work under the royal patronage this ‘conversation’ back to life. fnal draf of the score, annotating and archiving a performance of American composer Victor Herbert’s of Infante Luis Antonio of Spain who commissioned number of sketches, without order, while playing cello concerto. him to compose three collections a year each Te challenge in Gabriel Fauré’s Papillon is of a very some Haydn or Schumann cello concerto, made a bit While Dvořák was putting pen to paper in New York, consisting of six pieces. His Sonata in G dates from diferent order. Fauré composed this virtuoso piece at of chaos for a few months, but for a strange reason, I he received a letter from Bohemia informing him that this period. Boccherini’s music is ofen dulcet, elegant the request of his publisher to juxtapose his successful felt that I wanted to follow this route without a clear his frst love, Josefna Čermáková, was seriously ill. and graceful, which posthumously earned him the Élégie and it was this publisher who came up with its destination, almost improvising.’ As a tribute to Josefna, he included a quote from her sobriquet ‘Haydn’s Wife’. name, Papillon, most probably with a view to boosting Te result is a mix of references to Italy in earlier favourite song in the third movement’s slow passage. sales. Fauré wasn’t particularly bothered and wrote, ‘As centuries and tarantism, a form of hysterical dance Not long afer, Josefna died and once back home in Te frst-ever piece performed at the very frst far as I’m concerned, you can call it Dung Beetle if you style originating from Salento and frst documented Bohemia, he decided to compose a rather unorthodox Cello Biennale in 2006 was Teo Loevendie’s Zeybek. like.’ Te piece is reminiscent of Rimsky-Korsakov’s in the 11th century. According to myth, dancing ending. Instead of a virtuoso cadenza, he has the Twelve years later, he has composed a new piece Flight of the Bumblebee, which was written ffeen hysterically served as an antidote to the bite of the cello sing a love duet with the violin. He wrote, ‘... the especially for the NCC and provided the following years later. • tarantula. Sollima interwove baroque bass lines fnale concludes with a gradual diminuendo, like a insights, ‘In the 19th century, the cello was primarily and references from 15th- and 16th-century Italian sigh, reminiscent of the frst and second movements. composers’ works into the concerto in which the Te solo cello diminuendos to a pianissimo, only to Renaissance polymath and Jesuit scholar Athanasius crescendo once again, leading into several bars of an Kircher does battle with tarantism. orchestral tutti, bringing the piece to a tempestuous A musical rebus by Leonardo da Vinci provides a conclusion.’ common thread throughout and also forms the warp And to address balance problems, he had the cello and wef for a set of variations in the last movement. accompanied by various sections of the orchestra. •

CELLOFEST 2018

Te Visit creates a fairytale-like soundscape that BartolomeyBittmann. When the Cello Biennale seems to tell us about early medieval times as well introduced the completely unknown (at the time) as about faraway galaxies. Young Canadian cello Austrian jazz-rock duo BartolomeyBittmann for the virtuoso Raphael Weinroth-Browne and singer frst time in 2016, something immediately became Heather Sita Black present their highly acclaimed clear: this duo would become huge. album Trough Darkness into Light. Te energy, perfection, and virtuosity of cellist Matthias Bartolomey and violinist and mandola player Klemens Bittmann, and especially their own catchy jazz-rock compositions immediately won them the audience’s unconditional fondness.

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10.00-12.30, Grote Zaal 14.00, Bimhuis NATIONAL CELLO COMPETITION FAMILY PERFORMANCE (6+) First Round Cello Warriors (continued from Friday 19 October) A production of Oorkaan and Cello Octet Amsterdam Cello Octet Amsterdam: Sanne Bijker, Job 10.30 and 12.00, Kleine Zaal Greuter, Rares Mihailescu, René van Munster, SHOW FOR YOUNG CHILDREN (4+) Alistair Sung, Eduard Ninot Roig, Geneviève Verhage, Susanne Rosmolen Spruce and Josephine van Rheenen, Jochem Stavenuiter, Pim Veulings choreography Ebony Caecilia Thunnissen, Sanne Bijker artistic after Micha Wertheim’s new book for small direction children, De familie Decibel Erin Coppens dramaturgy Micha Wertheim and Fay Lovsky Sanne Oostervink scenography Hello Cello Orkest The Decibel family lives in a cello. How this Tim van ’t Hof light family ended up there, and what they’re up How does courage sound? Do you know the to, remains a huge surprise. But one thing is eight Cello Warriors? They are fexible, strong and absolutely certain: children age 4 and above can they are pretty good at sleight of hand. Armed participate… with their cello and bow they go into battle and conquer everyone’s heart.

11.30, Huiskamer House Music 16.15, Grote Zaal Michael Gordon composed a new piece for Hello Cello Orkest cello solo, specially for the Cello Biënnale. The 160 children and young people from all over the composition is meant to be performed in a living country play together with children from the West room, so a small house was built on the terrace Bank and from El Salvador in the Hello Cello of the Muziekgebouw, which allows a maximum Orchestra of 30 listeners to attend each performance. Tim Kliphuis composer/conductor Ashley Bathgate cello Sietse-Jan Weijenberg cello Michael Gordon (1956) New work* (world premiere) 17.00 uur, Kleine Zaal Sietse-Jan Weijenberg Micha Wertheim 13.45, Foyerdeck 1 Music for Galway: NATIONAL CELLO COMPETITION Ontdek Cellissimo Announcement contestants From April 25 - May 3 2020 a new festival second round will take place in Ireland as part of Galway 2020, European Capital of Culture. The festival presents itself for the frst time at the Cello Biënnale in word, music and video with Artistic director and pianist Finghin Collins en de cellists Giovanni Sollima, Marc Coppey and Christopher Ellis.

* This works was commissioned by the Cello Biënnale Amsterdam with fnancial support from the Amsterdams Fonds voor de Kunst.

72 Tim Kliphuis Cellokrijgers 73 20 Sat 20 Oct

Kian Soltani Jakob Koranyi Cello Octet Amsterdam

19.00, Kleine Zaal Edward Elgar (1857-1934) 20.30, Bimhuis 23.30, Grote Zaal Students around the World Cello concerto in E minor, opus 85 (Soltani) CELLOFEST 2018 - Adagio-Moderato Night Concert - Lento-Allegro Molto Mela Marie Cello Octet Amsterdam: Sanne Bijker, Claire 20.15, Grote Zaal - Adagio Bleumer, Rares Mihailescu, René van Munster, - Allegro-Moderato-Allegro, ma non troppo Spaemann Alistair Sung, Esther Torrenga, Geneviève Residentie Orkest Mela Marie Spaemann cello, voice Verhage, Liselot Watté Jakob Koranyi cello Kian Soltani cello Michael Gordon (1956) Cello quintet: Anastasia Kobekina, NES New composition** (world premiere) Matt Haimovitz, Narek Hakhnazaryan, Nesrine Belmokh cello, voice Giovanni Sollima, Kian Soltani Matthieu Saglio cello, sampler Antony Hermus conductor David Gadea percussion

Carlo Gesualdo (1566-1613) Tu piangi, o flli mia (Cello quintet)

Giovanni Valentini (1730-1804) Sonate in G minor (Cello quintet)

Julia Wolfe (1958) Cello concerto* (Koranyi, world premiere) * This work was commissioned by the Cello Biënnale ** This work was commissioned by the Cello Biënnale interval Amsterdam and the Galway Cello Triënnale 2020, Cellissimo Amsterdam, Cello Octet Amsterdam and November Music with fnancial support from the Eduard van Beinum Stichting with fnancial support from the Amsterdams Fonds voor de and the Amsterdams Fonds voor de Kunst. Kunst.

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Residentie Orkest Night Concert – Cello Octet Amsterdam Carlo Gesualdo’s life history (1566–1613) reads I do have a few groovy, wild cello licks in mind, Michael Gordon – one of the three Bang on a Can Nowadays, most people listen to music with like something out of a thriller. Love and death were however … and I think it’ll be intriguing to combine composers – thinks the cello is a miracle, ‘I met a headphones on. Amplifed sound comes from two inextricably intertwined for this Italian composer. Jakob Koranyi’s and my worlds. cello maker once when I took my daughter’s bow in sound sources. Even with an orchestra on stage, the When he caught his wife and her lover together, to get it fxed. All the instruments were lying open, sound comes from one direction. With eight cellos, I he murdered them both in a ft of rage. Pain and Edward Elgar was so utterly devastated by the held together with little more than a seam of glue. had the opportunity to play with the direction from passion were also two sides of the same coin in outbreak of World War I that he composed far less I asked him how it was possible that such a delicate which the sound emanates.’ his compositions. References to pain and death in than usual for the four years of its duration. He instrument – little more than a few pieces of wood Gordon endeavours to make his music three madrigals from the turn of the 17thcentury were even considered quitting writing music altogether. – could withstand the force and energy with which dimensional in much the same way as the Italian code for love and sexual ecstasy. Gesualdo was highly One morning, while convalescing from a painful people played the instrument. renaissance painter Giotto’s characters appear to skilled at voicing these tormented emotions. Te tonsillectomy, he asked for a piece of paper and a If you read up on the history of the cello, you’ll leap of the canvas. ‘I think about where the sound’s text from Tu piangi, o Filli mia reads, ‘You weep, oh pencil. He had music in his head that he needed to soon discover there’ve been several designs – each coming from, the music’s always in motion. It’s my Phyllis, and think thus to quench that ardent get out. Several weeks later, Elgar moved into his region having its own particular version. Te going to be ritualistic, something in which you could fame which so sweetly, does infame me. But ah, second home in the countryside of South England. modern cello has evolved over several centuries of live, as it were, and where the music builds its own such tiny tears do make my heart the more aroused Tat spring was wonderful, but at night he could experimentation. You can sense this.’ architecture.’ with burning ardour.’ Tears go hand in hand with hear heavy artillery fre over the English Channel. He In Bang on a Can’s works, the cello plays a role Te Muziekgebouw’s Grote Zaal will even be slowmoving minor chords, their semitones chafng wrote to a friend stating, ‘I really can’t work with these comparable to that of electric guitar. Gordon reconfgured especially for this unusual performance. to create a woeful lament. But the ardent fames dark clouds hanging above our heads.’ It wouldn’t be explains, ‘Tey have roughly the same range and For example, the seating facing the stage will be nonetheless betray a furtive arousal. until the end of that summer that he’d have his piano can be used as the bass line or a higherregister removed. shipped down from London and he’d start composing instrument. But the cello leads and carries the music.’ You’re cordially invited to visit Gordon’s ‘cello Giovanni Valentini (ca. 1582–1649) too composed again. Finally, he’d found a purpose for the melody cathedral’ – the concert starts at midnight! • fvepart madrigals and motets. He made his frst he’d scribbled on that piece of paper at the hospital, Cello Octet Amsterdam has premièred over seventy appearance in the annals of history, when he was ofen getting up at fve o’clock in the morning to work pieces since they were established in 1989 – most of appointed as the organist to the court in Warsaw on his cello concerto. Its première in October 1919 them written specially for the ensemble. Tey’ve also in 1604. Fifeen years later, he became the imperial was a washout – due to insufcient rehearsal time – been at every single Cello Biennale. Michael Gordon organist in Vienna where he made a name for himself but it was readily apparent that his work was indeed was asked to compose a new piece for this seventh as the court Kapellmeister, a choirmaster and a a masterpiece. Te opening melody was always with edition and in doing so he joins a long list of prolifc opera composer. Tere are several reasons why him. Feebly attempting to whistle it on his deathbed, distinguished composers who have written for the four centuries later he’s virtually unheard of, but none he said to a friend, ‘If ever you’re walking on the octet – , Sofa Gubaidulina, Arvo Pärt, of these reasons have anything to do with the quality Malvern Hills and hear that, don’t be frightened. It’s Teo Loevendie, Terry Riley, Philip Glass … of his music. His music was never published while only me.’ • Gordon’s already composed several major works he was working as the court Kapellmeister, perhaps for homogenous ensembles, e.g. Rushes for seven to ensure his works’ exclusivity for the emperor. bassoons and Amplifed for four electric guitars. Moreover, as an Italian working in Vienna, it’s likely ‘Tese works all last an hour – it looks as though this that he would have been relegated to the sidelines is the start of a series. I view these compositions not by later Austrian musicologists in their nationalist so much as musical pieces, but rather as sculptures. fervour. In his Sonata à 5 in G minor, Valentini experimented as Gesualdo did with chromaticism and alternated between solemn chord progressions and lively rhythmical passages. CELLOFEST 2018

According to Julia Wolfe, all her are rather German cellist Mela Marie Spaemann writes and NES is the Spanish-French jazz-blues formation of unorthodox. Her Cello Concerto will certainly be no performs intimate pop songs that stick to the mind singer and cellist Nesrine Belmokh, cellist Matthieu diferent. She’s previously written works for accordion long afer they’ve ended. A young top talent, she Saglio, and percussionist David Gadea. and orchestra, string quartet and orchestra, and body studies with the best pedagogues, is winning prizes, Nesrine sings like a combination of Billie Holiday, percussion and orchestra. Cello Biennale asked her en gets opportunities to perform as a soloist with Fairuz, and Caro Emerald, and plays the cello to compose a cello concerto for Jakob Koranyi – an various European orchestras. But in addition to fantastically. As the singer, Nesrine is the frontlady equally imposing personality. ‘Cello and orchestra that, Mela, her cello, and her loopstation make a of the band. She leaves most cello playing to French might seem very traditional, but it’ll be anything but,’ one-woman band. She presents her own songs in a cellist Matthieu Saglio, who efortlessly assumes the the Bang on a Can composer explains on Skype. ‘As dreamy style, combining jazz, soul, and a touch of role of rhythm guitarist, lead guitarist, or bass – and far as I’m concerned, my compositions for orchestra classical music. sometimes all three at the same time. David Gadea and those for our Bang on a Can AllStars are one and is the percussionist every band wishes for. Added the same. I’ll be using all the experience I’ve gained to that is the fnishing touch of Nesrine’s beautiful with the AllStars. It’s not as though I suddenly put on cello sounds. another hat to compose for orchestra. Music’s music.

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20.15 uur, Grote Zaal Ibn Battuta The traveller in time From Constantinople to India, China, Baghdad, , Mali and back to Fez 1334-400; Jordi Savall compiled a programme with music that the 14th century explorer Ibn Battuta could have listened to during his travels through Mediterranean countries and the Far East. Lingling Yu pipa (China) Xin Liu zheng (China) Waed Bouhassoun voice & oud () Moslem Rahal ney (Syria) Arnau Tomàs Colin Carr Jean-Guihen Queyras Haïg Sarikouyoumdjian duduk & belul (Armenia) Daud Sadozai rebab & sarod (Afghanistan) Hakan Güngör kanun (Turkey) 09.30, Grote Zaal 12.45-13.45, Bimhuis 15.30, Bimhuis Hespèrion XXI: BACH&BREAKFAST THE COMPARISON LET’S TALK Dimitri Psonis santur (Greece) Pedro Estevan percussion (Spain) Arnau Tomàs Cello makers The Power of Music II Jordi Savall vielle, rebec & direction Johann Sebastian Bach (1685-1750) Colin Carr tests new instruments made by the About the power of music in darker times. Suite nr 6 in D major, BWV 1012 cello makers whose cellos are on display during With Musicians without Borders, Sounds of With the support of the Departament de Cultura of the - Prélude the Biennale. Palestine, Muziek aan bed Generalitat de Catalunya and the Institut - Allemande - Courante - Sarabande 14.00, Grote Zaal 17.00, Grote Zaal - Gavotte TAKE FIVE - Gigue Korngold | Nomads Deception Jean-Guihen Queyras cello 10.15-12.30, Bimhuis Alexander Warenberg cello Ed Spanjaard conductor MASTER CLASS Narek Hakhnazaryan cello Atlas Ensemble: Harrie Starreveld shakuhachi Quirine Viersen cello and fute, Ernest Rombout oboe, Raphaela Colin Carr Symfonieorkest van het Danksagmuller duduk, Anna voor de Wind Conservatorium van Amsterdam (bass-)clarinet, Naomi Sato sho, Wu Wei sheng, 10.15-12.30, Kleine Zaal Dirk Vermeulen conductor Elchin Nagijev tar, Kiya Tabassian setar, Laurent MASTER CLASS Warnier and Gorka Catediano percussion, Zhao Giuseppe Verdi (1813-1901) Yuanchun erhu, Elshan Mansurov kamancha, 20.30 uur, Bimhuis Jakob Koranyi Ouverture I Masnadieri (Warenberg) Yuji Nakagawa sarangi, Emi Ohi Resnick violin, CELLOFEST 2018 Pyotr Ilyitsj Tchaikovsky (1840-1893) Neva Özgen kemençe, Frank Brakkee viola, 11.30, Huiskamer Pezzo capriccioso, opus 62 (Warenberg) Dario Calderone double bass Kamancello Aram Khachaturian (1903-1978) Raphael Weinroth-Browne cello House Music Concert Rhapsody (Hakhnazaryan) Joël Bons (1952) Shahriyar Jamshidi kamanche Michael Gordon composed a new piece for cello David Lang (1957) Nomads solo for the Cello Biënnale. The composition Simple Song from ‘Youth’ (Viersen) is meant to be performed in a living room. Solo violon: Stella Zake The Eric Therefore a small house was built on the terrace Erich Wolfgang Korngold (1897-1957) 19.00, Kleine Zaal of the Muziekgebouw in which a maximum of 30 Cello concerto in C, opus 37 (Viersen) Students around the World Longsworth Project listeners can attend each performance. Eric Longsworth cello Ashley Bathgate cello Gregory Dargent ud, guitar Michael Gordon (1956) Jean-Luc Di Fraya percussion New work* (world premiere)

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Korngold | Deception Verdi composed his opera I Masnadieri in 1847 at concert hall venues. Sadly, he would never regain his the request of a Londonbased impresario. Carlo – a prewar status as a prominent composer. count’s eldest son – joins a band of robbers and just as Cellist Quirine Viersen recounts her relationship he regrets his actions, his younger brother connives with his music, ‘I’m totally addicted to Korngold’s to prevent his older ‘lost brother’ from returning music. Luckily for me, he wrote a cello concerto. home. Te deception is unmasked but the opera ends About ffeen years ago, I was asked to play it for a dramatically with Carlos and his beloved’s deaths. flm about Korngold’s life. I thought I didn’t know the Te audiences of the time were highly enthusiastic, music, but during rehearsals I suddenly realized that but the sullen English critics responded negatively. I’d seen the flm. I still receive many accolades for that According to them, the misunderstood overture with recording. When I was in Portland, I even visited the a major solo role for cello was only saved by cellist Korngold family and was even allowed to hold one of Carlo Alfredo Piatti’s exquisite playing. his Oscars.’ Viersen is ecstatic that she’ll be getting to play his Tchaikovsky was in a sombre mood when he concerto at this year’s Biennale. • Narek Hakhnazaryan composed his second and last work for cello and orchestra, Pezzo Capriccioso, in the summer of 1887. He’d been at his good friend Kondratiev’s bedside and he hadn’t managed to complete his composition. Once back at home in St. Petersburg, he completed the short melancholy work, which half way through fips into virtuoso frivolity. Cello & Celluloid In the runup to the Biennale, several flms Armenian composer Aram Khachaturian – about or involving cellists will be showing at the himself a cellist – composed his Concerto-Rhapsody Eye Film Museum. In Deception, Bette Davis for cello and orchestra in 1963 at the request of believes the love of her life (a cellist) has died in Mstislav Rostropovich. In 1948, he’d been accused of a concentration camp, but he’s actually still alive formalism – as had fellow composers Prokofev and and is about to première a new cello concerto by Shostakovich – yet he received the USSR State Prize the composer Hollenius with whom Davis now in 1971 for this concerto with references to Armenian has a relationship. Te flm about passion and folk music and fragments in its fnale reminiscent of jealousy, needless to say, ends dramatically. sabre dances.

David Lang wrote the music for the flm Youth (2015) by Paolo Sorrentino that depicts the emotional life of the flm’s main character – a composer. He uses Alexander Warenberg words to communicate with those around him, but music to express his thoughts. In ‘Simple Song #3’ – nominated for an Oscar – the composer looks back at his life. Quirine Viersen will be playing the vocals on her cello.

Erich Wolfgang Korngold was a prodigy – by the age of 16, he’d already written ffy compositions. Aged only 23, he wrote a smash opera hit Die tote Stadt, since performed all around the world. Little did he know as a Jew living in prewar Vienna that an invitation from Warner Brothers to come to Hollywood and compose flm music would save his life. Te flm Deception (1946) in which Bette Davis played the lead role of a composition student, who fell in love with a cellist and composer, would be his last before attempting to restart his career as a ‘proper’ composer. First of all, he rearranged his Cello Concerto in C from Deception’s climax for

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Kiya Tabassian, Joël Bons & Elchin Nagijev Zhao Yuanchun

Nomads As a young boy, Joël Bons fell in love with his parents’ Azerbaijani tar and kamanche take over the solo role LP collection and in particular various genres of non- from the cello. Western music, as well as a whole host of diferent instruments. If only he could blend the sounds of the Bons attempted to push his own boundaries still far- Chinese sheng with the Japanese shō, or the enchant- ther, making up an imaginary folklore and issuing a ment of the Indian sarangi with the Iranian kamanche, challenge to the ensemble’s Azerbaijani musicians. and what would the Western oboe sound like with its Tey accept the gauntlet he throws down to them with Armenian cousin the duduk? In 2002, his dream came their virtuoso improvisations. Afer yet another new true – he founded the Atlas Ensemble, embarking on passage, the listener lands in the microtonal world of a new musical adventure with musicians from China, the Iranian lute, the setar. Te cello is seduced by the , India, Iran, Azerbaijan, Armenia, Turkey and erhu before becoming embroiled in an unusual string Europe, along with all their instruments, traditions quartet. Subsequent passages blend into an Indian and skills. raga played on the traditional sarangi and a solo from the shō – a fascinating wind instrument with several Cellist JeanGuihen Queyras too is very interested in bamboo organ pipes. Te journey is not totally devoid musical cultures from outside Europe’s borders. Bons of Western infuences – the cello, clarinet and viola Jean-Guihen Queyras & Ed Spanjaard was wildly enthusiastic about Queyras’s performance explore several paths through the classical repertoire. at the 2014 Cello Biennale with fellow musicians from Tings start to get really strange when the tar, kaman- Iran, Crete and North Africa. A lasting friendship was che and duduk launch into a salsa. soon forged, as was a plan. In 2016, Cello Biennale Repeatedly, various instruments rear their heads and asked Bons to compose a piece for the cosmopolitan instigate what seems like momentary chaos, but ulti- Atlas Ensemble and JeanGuihen Queyras – this being mately everything returns to a harmonious, whispered the musical voyage of discovery Nomaden. chorale. Te cello then hovers high above the ensem- ble and disappears into the stratosphere … In sixty minutes, the cello – played by Queyras, of course – journeys around the world. First, it meets Its première in 2016 was a resounding success. some family members – the kemenche from Turkey, Eric Voermans wrote in the Dutch newspaper Het Pa- the erhu from China and the sarangi from India. Te rool, ‘An exciting and moving masterpiece.’ Fellow cello introduces the nomad motif that is later echoed Dutch journalist Frits van der Waa countered in in various guises. Another repetitive element is a pas- De Volkskrant, ‘A frstrate experience.’ Reason enough sage in which diferent instruments curiously explore to ask the Atlas Ensemble to tackle Joël Bons’s musical the others’ sounds through a progression of notes. adventure once again, conducted by Ed Spanjaard. • Meanwhile, the cello challenges the erhu and the sheng to a jazz duel before diving into fullblown battle with the sheng. In a folk musiclike fragment, the

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Ibn Battuta According to Jordi Savall, music is the frst language sailing along the African coast in a dhow. In Anatolia, we learn and the last we lose. A baby in its mother’s he encountered the whirling dervishes. He even arms doesn’t yet understand language but listens visited , Mongolia and Constantinople, spent intently to the tone of her voice and her words. seven years in India and got as far as China, Sri Lanka Someone with Alzheimer’s may have lost the and . Following the Silk Road west, he words to express himself, but blossoms back into fnally made it back home to stopping of in life on hearing music. When we burn bridges and Andalusia and Mali along the way. communication seems impossible, music can bridge even unfathomable divides. It is this dialogue that At the sultan’s request, Battuta wrote an account Savall believes is essential to solving the problems of of his adventures, which became known as Rihla. our time. And music plays a crucial role in initiating Savall explains how, ‘... thanks to this manuscript, this dialogue – stripped of all prejudices. we’ve gained a fantastic insight into this period As UNESCO’s Artist for Peace, Savall engages in of history, but Eastern music relied on an oral countless ways to spark inter-cultural dialogue. Afer tradition. Tis made it a reconstruction project in a visit to the Calais Jungle, it became very difcult for which we endeavoured to recreate his travels and him to perform in the opulence of some of the world’s used our creativity to blend the various cultures most magnifcent concert halls. He therefore decided he encountered. Music has always spoken and still to perform in Calais and Greece and founded the speaks directly to the heart, regardless of culture. It is, Orpheux XXI refugee orchestra. as it were, a time machine. It plays an important role in teaching us to be more open for one another.’ In Ibn Battuta, Savall and his international ensemble Tis concert’s music has traditional origins and the Hespèrion XXI bring to life the adventures of ensemble’s musicians are akin to living libraries. • Moroccan traveller Ibn Battuta. Tis 14thcentury Muslim scholar lef Tangier aged 22 to go on his hajj to Mecca but ended up travelling the medieval world for almost thirty years. His travels earned the nickname the ‘ Marco Polo’. However, Battuta’s travels took him much farther than Marco Polo’s did, and his accounts were far more detailed. Following caravan trails, he made his way to Cairo to marvel at the pyramids before continuing on to Jerusalem and , and through the desert to Mecca, and then still farther to Iraq and Persia. He returned to Mecca via Yemen and Zanzibar before

CELLOFEST 2018

Kamancello. Two musicians from Toronto, Te Eric Longsworth Project. Longsworth is just Shahriyar Jamshidi, Iranian-Kurdish master player as peculiar as his cello looks. Classically trained in of the Iranian kamancheh, and rising star cellist the USA and settled in South France, he regularly Raphael Weinroth-Brown, sit across from each performs with celebrities in French jazz, and with other and make a miracle happen. Without codes or amazing musicians from the Middle East and prior agreements, they simply let two very diferent French speaking African countries. Oud player and stringed instruments speak, whisper, or argue guitarist Gregory Dargent explores his versatil- heatedly. Recently, they released a fabulous debut ity in eight diferent formations, from the world album, which turns out to have been recorded in ensemble L’Hijâz’Car to pop group Babx. Highly only one take! popular percussionist Jean-Luc Di Fraya turns each performance into a party, using both his drums and his voice.

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Chu Yi-Bing Reinhard Latzko Bang on a Can All-Stars

09.30, Grote Zaal 14.00, Grote Zaal 15.30, Bimhuis 17.00, Grote Zaal BACH&BREAKFAST The First Sonata THE COMPARISON TAKE FIVE Matt Haimovitz Chu Yi-Bing cello Cello makers Bang on a Can Johann Sebastian Bach (1685-1750) Reinhard Latzko cello Reinhard Latzko tests new instruments made Suite nr 5 in C minor, BWV 1011 Alban Gerhardt cello by the cello makers whose cellos are on display All-Stars - Prélude Thomas Sauer piano during the Biennale. Bang on a Can All-Stars: - Allemande Jelger Blanken piano Ashley Bathgate cello - Courante Frank van de Laar piano Robert Black double bass - Sarabande Vicky Chow piano - Gavotte Ludwig van Beethoven (1770-1827) David Cossin percussion - Gigue Sonata nr. 1 in F major for piano and cello, Mark Stewart guitar opus 5 nr. 1 (Chu Yi-Bing) Ken Thomson clarinet - Adagio sostenuto - Allegro 10.15-12.30, Bimhuis - Rondo: Allegro vivace David Lang (1957) MASTER CLASS cheating, lying, stealing Bohuslav Martinů (1890-1959) Jordi Savall Sonata for cello and piano nr. 1 (Latzko) Michael Gordon (1956) - Poco allegro Light is Calling - Lento 10.15-12.30, Kleine Zaal - Allegro con brio Julia Wolfe (1958) MASTER CLASS Believing (1934-1998) Giovanni Sollima Sonata for cello en piano nr. 1 (Gerhardt) Aart Strootman (1987) - Largo Lesson 25 - time - Presto 12.45, Bimhuis - Largo Steve Reich (1936) Students around the World The Cave of Machpelah Julia Wolfe Reeling

Anna Clyne (1980) A Wonderful Day

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Maya Fridman Geneviève Verhage

19.00, Kleine Zaal Robert Schumann (1810-1856) Te First Sonata Students around the World Fünf Stücke im Volkston opus 102 (Carr) Russian composer Alfred Schnittke had already had it can make us forget our reality.’ Tree weeks later, - Mit humor ‘Vanitas vanitatum’ a taste of life west of the Iron Curtain long before he fed the French capital leaving everything behind - Langsam emigrating to Hamburg in 1990. When he was him. To this day, the original manuscript of this piece 20.15, Grote Zaal - Nicht schnell, mit viel Ton zu spielen twelve, he studied in Vienna, shortly afer the end of has never been found. - Nicht zu rasch World War II. Te Austrian capital – bursting with With a - Stark und markiert musical history – was to have a profound efect on the Beethoven too was far from home when he frst put young Schnittke. By the end of the 1970s, Schnittke pen to paper to write his frst sonata for cello and Blue Dress on Ludwig van Beethoven (1770-1827) had had so much success with his Concerto Grosso piano. His reason for being away from home was, Kristina Blaumane cello Sonata nr. 3 in A major for piano and cello, opus No. 1 that he was allowed to leave the however, far more pleasant. His growing status as a Anastasia Kobekina cello 69 (Carr) on a regular basis to attend performances of his piano virtuoso meant that he was frequently touring Maya Fridman cello - Allegro ma non tanto work overseas. Critique in his own country was and performing abroad. While at the court of the Mela Marie Spaemann cello - Scherzo: Allegro molto unpredictable and harsh. Tis perhaps explains the Prussian King Frederick William II in Berlin, he met Ashley Bathgate cello - Adagio cantabile - Allegro vivace frustration that is so evident in his frst sonata for the Duport brothers – both highly talented cellists. Geneviève Verhage cello cello and piano written in 1978. Melodious references Even the king was a cellist of some distinction and he Colin Carr cello to German and Austrian musical traditions resonate commissioned his guest to compose a new piece for Thomas Sauer piano throughout, echoes of a forbidden, inaccessible cello. Beethoven’s frst sonata for cello opens with the 20.30, Bimhuis world disguised in a language of forlorn melody piano taking the lead – showing of his own virtuosity Pēteris Vasks (1946) CELLOFEST 2018 and provocative unrest. Schnittke’s powerful music was, afer all, the reason for his touring Europe Gramata cellam (Das Buch) (Blaumane) shatters any wall of oppression. – but the combination of cello and piano would - Fortissimo Weijenberg & nevertheless remain a lasting source of inspiration for - Pianissimo Bohuslav Martinů witnessed the world around him him throughout his life. However, a dark cloud was Kliphuis collapse, while writing his frst sonata for cello and looming. On returning home, Beethoven discovered Rita Hijmans (1948) Sietse-Jan Weijenberg cello piano in Paris at the end of 1939. Te Nazis had just that he had contracted typhus, the possible cause of Cel-lust for cello and piano (Kobekina) Tim Kliphuis violin invaded Czechoslovakia and he was now cut of from his deafness later in life. • Morris Kliphuis horn his beloved fatherland. During the barren winter Maxim Shalygin (1985) months that followed, he wrote, ‘I constantly think From Canti d’inizio e fne of and our fellow countrymen and how they Epilogue: Todesfuge (Fridman) Svante Henryson must be feeling. Here in France, everything’s slowly falling apart. It’s quite depressing.’ On 19 May 1940, Julia Wolfe (1958) Quartet Pierre Fournier and Rudolf Firkušný debuted With a Blue Dress on (Bathgate, Blaumane, Spaemann, Svante Henryson cello Martinů’s cello sonata at the Société pour la Musique Verhage, Fridman) piano Contemporaine’s last concert – a concert held that Mats Eilertsen double bass morning for fear of night-time bombing raids. In interval Audun Kleive percussion Martinů’s own words, ‘A farewell from a better world. We briefy grasped what music can give us and how

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Te Bang on a Can All-Stars Recordings have had a major infuence on modern In Reeling, Wolfe uses a recording she made of a in the Baltic states at the end of the 1980s. His in Nazi concentration camps, with vocals playing a music for over a hundred years now, from Bartók Canadian singer performing an old Gaelic reel. Wolfe, Grāmata čellam (Te Book) debuted in Riga in very important role. who hiked into the mountains to record folk music to who loves to play folk music herself, shrouded the 1979, but it would be twenty years before it was ever hip-hop fragment sampling. For their Field Recordings recorded lyrics in more and more noise ‘reeling’ the performed in the West. In contrast to its virtuoso and Julia Wolfe fell head over heels in love with American project, the Bang on a Can All-Stars asked composers music into her own world. emotional frst movement, its second movement is folk music while studying in Ann Arbor. Since the all over the world to write a new work using an contemplative with cello and cellist singing a song full invention of tape recorders, many of these traditional existing recording – vocals, sounds, fragments, etc. Te Dutch guitarist and composer Aart Strootman of melancholy. melodies have now been recorded and collected Accompanying these, the ensemble plays older pieces was also asked to work on the Field Recordings project. – having previously only been handed down from composed by the Bang on a Can collective. Lesson 25 – Time is a musical approximation of the For Rita Hijmans, music is the most beautiful generation to generation as part of an oral tradition. term ‘time’. Strootman used a recording from an art form of all – an art form that opens doors and It was one of these recordings that inspired Wolfe Te idea behind David Lang’s Cheating, Lying, Stealing oldfashioned English language course and explored transcends words. Te power of her compositions lies to compose With a Blue Dress On, complete with is that composers ofen highlight their own strengths how time passed with various rhythms, such as the hidden amidst unutterable emotion. Cellust opens numerous traditional elements from American folk in their music, for example a highly developed EQ or ticking of a clock – silences and progressions that with a call, a prayer – echoing Jewish music. Te cello music including ‘open string’ technique, ‘fddle’ runs IQ. Lang wondered what it would be like if you were simulate their own temporal universe. then enters into an animated dialogue with the piano. and prerequisite foot stomping! Wolfe adapted her to compose based on your weaknesses. Composers A waltz, a tango, ... Hijmans switches rapidly from piece for fve singing cellists in much the same way as aren’t taught how to write awkwardly or how to Steve Reich composed a soundscape to accompany one style to another conjuring up a myriad of images a master chef would reinvent her signature dish with deceive, but Lang nevertheless attempted to capture interviews recorded with Palestinians, Israelis and to its listeners. familiar ingredients. these darker sides in his music, writing with tongue in Americans about the signifcance of the cave in which cheek at the top of his manuscript, ‘an ominous funk’. Ibrahim/Avraham/Abraham was buried – a holy site As far as Maxim Shalygin is concerned, music Robert Schumann battled recurring bouts of for Muslims, Jews and Christians alike. Reich isn’t may even be permitted to shock its listeners. ‘Being depression for many years, which ofen made it Michael Gordon wanted to write something beautiful under any illusion that Te Cave of Machpelah will shocked by music is about pain turning into beauty impossible for him to compose. However, while in the afermath of 9/11. He experienced the horror help to bring peace to the Middle East – tensions, and getting under your skin, taking away your breath; a widespread revolutionary wave was rolling of that day from his studio close to Ground Zero – unfortunately, are running way too high. He does, about everything stopping to move.’ Shalygin’s music across Europe (1848/49), Schumann succeeded Light Is Calling is his artistic response. Te cello sings however, believe that a blossoming music culture in is a spiritual quest – composed with a conviction that in penning one composition afer another. It was a beautiful melody against a backdrop of malformed this region has a lot to ofer the world. there is more to be discovered than we perceive with amidst this turmoil that he composed his frst series electronic noises. our senses. ‘Te most concealed, intimate and deep of home recitals – perhaps motivated by fnancial One chilly autumn evening, Anna Clyne was walking things can only be expressed by a single instrument.’ necessity (his publishers were eagerly snapping up In 1991, Julia Wolfe composed a new work for the down a street as an elderly man in front of her was Tis concert presents the last movement from his this particular genre), but according to Schumann Bang on a Can All-Stars at the request of Radio4. singing and tapping his walking stick. She asked him seven-movement Canti d’inizio e fne – a reference driven by people’s need for security in a family While writing Believing, she was listening to whether he would mind if she recorded him singing. to the circle of life, from the cradle to the grave. setting during such uncertain times. His carefree John Lennon’s Tomorrow Never Knows in which the Willie Barbee’s face lit up when he heard that Clyne Shalygin developed a special technique for each Fünf Stücke im Volkston brims with fantasy folklore Beatles seek answers to life’s spiritual questions. Te wanted to use the recording for a composition. In movement that gave Maya Fridman the sense that she juxtaposing the events that would take place only two word ‘believing’ is used repeatedly throughout the A Wonderful Day, we hear Willie singing and talking needed to learn how to play the cello all over again. weeks afer his fnishing this work. Te revolution lyrics, which is why Wolfe thought it would make for amidst the noise of passing trafc. Clyne frames his Its epilogue – based on Paul Celan’s poem Todesfuge reached Dresden forcing Schumann and his family to a good title for her own work. ‘It’s a powerful word – song in the gentle sounds of the Bang on a Can All- (Death Fugue) – relates the experiences of prisoners fee the city. • full of optimism and struggle.’ Stars. •

CELLOFEST 2018 With a Blue Dress on Svante Henryson Quartet. One of ’s most A little more than six years afer the successful Its fnale bears witness to his renewed zest for life in Weijenberg & Kliphuis. Principal cellist of the interesting musicians is coming to Amsterdam: debut of his frst two cello sonatas at the Prussian which the cello and piano share the stage as equals. Netherlands Chamber Orchestra Sietse-Jan Wei- bass player, cellist, and composer Svante Henryson. court, Beethoven’s deteriorating hearing had started jenberg and jazz violinist Tim Kliphuis decided to While trained as a bass player and regularly perfor- driving him to distraction. He wrote in a letter, which In his music, the Latvian composer Pēteris Vasks collaborate. When the Cello Biennale found out ming in orchestras led by and Iona ultimately was never actually sent and became known seeks to provide nourishment for the soul in a world about this, they were invited to create a programme Brown, he has made studio recordings with Stevie as the Heiligenstadt Testament, that it was only music in which spirituality, love and ideals seem to be for CELLOFEST. Soon, the Biennale was informed Wonder, , and . Today, stopping him from taking his own life. Later, he playing an ever-diminishing role. Under Soviet rule, that jazz horn player and composer Morris Kliphuis he performs as a cellist with his compatriots, such wrote in his diary, ‘Live alone in your art! Restricted he was constantly being thwarted, yet he repeatedly had joined the team, and the frst rehearsal had as Martin Fröst and Anne Sophie von Otter. He though you be by your defective sense, this is still made reference to Latvian folk music in his works. ‘gone fantastically.’ Our expectations for this trio are has composed works for various diferent settings the only existence for you.’ It was only a year later Although strictly forbidden, he did so with intent, as high as the level of its members… and formed his own ensembles for pop and jazz. in 1807, the year in which Beethoven composed his for it was the power of singing folk songs together Tough it entered his life at a later stage, the cello is Fifh Symphony, that he also wrote Cello Sonata No. 3. that brought about the peaceful Singing Revolution his true love.

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09.30, Grote Zaal 14.00, Bimhuis BACH&BREAKFAST FAMILY PERFORMANCE (6+) Kian Soltani Cello Warriors Johann Sebastian Bach (1685-1750) A production of Oorkaan and Cello Octet Suite nr 3 in C major, BWV 1009 Amsterdam - Prélude Cello Octet Amsterdam: Sanne Bijker, Job - Allemande Greuter, Rares Mihailescu, René van Munster, - Courante Alistair Sung, Eduard Ninot Roig, Geneviève - Sarabande Verhage, Susanne Rosmolen - Bourrée Josephine van Rheenen, Jochem - Gigue Stavenuiter, Pim Veulings choreography Caecilia Thunnissen, Sanne Bijker artistic direction 10.30-12.45 and 13.30-15.45, Grote Zaal Erin Coppens dramaturgy NATIONAL CELLO COMPETITION Sanne Oostervink scenography Ensemble Shiraz Tim van ’t Hof light Second Round How does courage sound? Do you know the Ludwig van Beethoven (1770-1827) eight Cello Warriors? They are fexible, strong and Choice from: they are pretty good at sleight of hand. Armed 17.00, Grote Zaal Ludwig van Beethoven (1770-1827) Twelve variations in F major: “Ein Mädchen oder with their cello and bow they go into battle and TAKE FIVE Sonata nr. 2 in G minor for piano and cello, Weibchen” conquer everyone’s heart. opus 5, nr 2 (Strauss) Twelve variations in G major: “Judas Ensemble Shiraz & - Adagio sostenuto ed espressivo Maccabaeus” - Allegro molto più tosto presto Seven variations in E fat major: “Bei Männern 15.30, Bimhuis Kian Soltani - Rondo. Allegro welche Liebe fühlen” Kian Soltani cello On Stage Ensemble Shiraz: Khorso Soltani ney, interval (1861-1918) Workshop Oorkaan-method for cellists by balaban, Sepideh Raissadat setar, voice, Sonata for cello en piano in D minor Caecilia Thunnissen Majid Derakshani tar, Arjang Seyfzadeh Jacob TV (1951) - Lent, sostenuto e molto risoluto Oorkaan creates high quality staged concerts for setar, voice, Mohamad Ghavihelm tombak, daf Glacier* (Viersen, world premiere) - Sérénade: Modérément animé young audiences, together with top musicians. Traditional Persian music - Largo - Final: Animé, léger et nerveux In this workshop, artistic director Caecilia - Andante Thunnissen will show how she worked the - Lento Choice from: previous days with a selection of young cellists 19.00, Kleine Zaal Max Reger (1863-1916) according to the Oorkaan-Method: a unique Students around the World Fazil Say (1970) Sonata nr. 3 in F major opus 78, part 3 andante method to present live (classical) music in a Four Cities Sonata, opus 41 (Altstaedt) con variazioni theatrical way to young audiences. That requires - Sivas (1833-1897) more than being able to play cello at the highest 20.15, Grote Zaal - Hopa Sonata nr. 2 in F major opus 99, part 2 adagio level. To start with the fact that you need to play - Ankara afetuoso the music by heart, not only as a solo musician Four Cities - Bodrum Richard Strauss (1864-1949) but also as an ensemble. An excellent example Michel Strauss cello Sonata in F major, part 2 andante ma non troppo of working according to this method, is given by Quirine Viersen cello the musicians of the Cello Octet Amsterdam with Nicolas Altstaedt cello 20.30, Bimhuis Giovanni Sollima (1962) the concert Cello Warriors (Cellokrijgers), which Jean-Claude Vanden Eynden piano CELLOFEST 2018 Alone for cello solo will premiere during the Biennale and will be David Kadouch piano performed several times on October 20, 23 and Workshop 27. Robert Schumann (1810-1856) 11.00, Kleine Zaal Fantasiestücke opus 73 (Strauss) Arnold Dooyeweerd SHOW FOR YOUNG CHILDREN (4+) - Zart und mit Ausdruck 16.30 uur, Foyerdeck 1 - Lebhaft, leicht Spruce and Ebony NATIONAL CELLO COMPETITION - Rasch und mit Feuer Jam Session after Micha Wertheim’s new book for small Announcement fnalists children, De familie Decibel Emile Visser en Micha Wertheim and Fay Lovsky * This work was composed for Quirine Viersen and fnancially supported by the Cello Biënnale Amsterdam and Annie Tångberg the Performing Arts Fund (FPK).

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page for his Sonata in D be based on old French National Cello Competition - Second than other musicians and I prefer to leave that honour ofen get an opportunity to play with his father. Soltani publications. He even went as far as to proudly write Round to my dad and his colleagues. You really have to invest recalls, ‘We used to play together a lot at home – him ‘Musicien Français’ under his name. Tis sonata is Te programme for the NCC’s second round once a lot of energy to master this culture, so I keep my on bassoon and me on cello. It’s exciting to be on stage ideally suited to competitions because Debussy was again includes music spanning several eras and improvisation to a minimum. But that doesn’t mean I together again playing a totally diferent type of music. meticulous about providing written instructions about wouldn’t be complete if it didn’t include music by don’t like giving it a try every so ofen.’ We’re both really looking forward to the concert in the techniques to be used. Also, the piece includes Beethoven, one of the Biennale’s main composers. With a fully booked performance schedule, he doesn’t Amsterdam.’ • Te jury will be evaluating the participants’ diferent moods following on from one another in sense of style and interpretation of the classical rapid succession, challenging competitors to elicit a period by having them play several of Beethoven’s wide range of timbres from their cello within a mere variations for cello and piano. Beethoven excelled eleven minutes. Four Cities Participants were also allowed to select one of in this feld and was highly prolifc, writing some 1849 was Schumann’s most prolifc year ever. In can I want?’ three slow passages from famous, late Romantic seventy or so variations. His variations – based on February of that year, he composed his Fantasiestücke Nine years ago, cellist Quirine Viersen fell in love with era works – a perfect opportunity to let their cellos ‘Bei Männer, welche Liebe fühlen’ from Mozart’s in only three days – initially for piano and clarinet. Syracuse Blues – a work by Jacob ter Veldhuis – while ‘sing’. ‘Adagio afetuoso’ from Brahms’s Sonata in F opera Die Zauberföte and quite possibly inspired by Tree days later, clarinettist Johann Gottlieb Kotte on tour with the Youth Orchestra of Te Netherlands juxtaposes intimate melodies and passionate his infatuation for Giulietta Guicciardi – have the came to his house to rehearse the new work. Kotte (YON). She’d been dreaming of a solo cello pizzicati. ‘Andante con variazioni’ from Max Reger’s cello and piano playing a duet just as Pamina and played in the Dresden Hofapelle and had made quite composition ever since, but hadn’t ever dared to Sonata No. 3 (1904) renders variations for cello and Pageno do in the original opera. Other variations also an impression as a soloist with his refned and dulcet request one from the composer. Tat was until piano on a sublimely solemn melody. Richard Strauss come from this opera and are based on ‘Ein Mädchen tone. His fellow musician Carl Baerman described his two years ago when she came into contact with even quoted from a poem at the start of his oder Weibchen’. Beethoven also wrote variations on a style of playing as one which Schumann undoubtedly Ter Veldhuis on social media and she discovered manuscript for his Sonata in F, ‘Music, the eloquent, theme from Handel’s oratorio Judas Maccabaeus fve would have appreciated, ‘... for the sound is the means that the wish mas mutual. Viersen recalls, ‘Our is at the same time silent. Keeping quiet about the years earlier, in the same period that he composed his by which the artist speaks to the heart of the listener, collaboration has been a marvellous process. I run individual, she gives us the whole universe’ – his frst two cello sonatas. Te melody later became better and the fngers are only to produce the notes.’ Te through his drafs and in return my playing provides ‘A n d a n t e ma non troppo’ portraying a nineteen-year- known as Handel’s Easter hymn, Tine Be the Glory. title page of the frst edition, which appeared several him with inspiration. But I leave all the composing to old’s romantic universe. In the summer of 1915, amidst the turmoil of months later, ofered two alternatives to clarinet Jacob. It’s wonderful how we interact and connect in And to conclude, Alone – a solo for cello by artist World War I, Claude Debussy reverted to the – violin or cello. It wasn’t long before it became a the quest for the music’s essence. We’re not frightened in residence Giovanni Sollima. He composed this traditional French style in a show of true patriotism. favourite romantic work among cellists. to show our vulnerabilities – to bare our souls, as it virtuoso work – brimming with double stops and Afer a period of particular apathy, he said of himself Mozart and Haydn had already been to the Prussian were. stomping rhythmicality – for the Stradivarius that he was attempting to reinvent and rediscover court in Berlin by the time Beethoven presented his You’ll not be hearing any oriental fantasies in International Cello Competition in 1999. • this particular style. Debussy’s instructions to work there as a young composer. He was probably Four Cities, but you will hear the sounds of Fazil Say’s his publisher stated that the design of the title quite relieved that Frederick William didn’t ask homeland, Turkey. Te inspiration for the city of him to compose a string quartet – a genre that his ‘Sivas’ was a song by the Alawi poet Veysel. ‘Hopa’ predecessors excelled in. However, music for piano resonates with the echoes of traditional folk dances. In and cello was virgin territory. Te dramatic opening Say’s birthplace, ‘Ankara’, you’ll be transported to the Ensemble Shiraz the Middle East too, from Turkey to Azerbaijan. of his Sonata in G provided ample freedom for the metropolis where – from afar – a melody sporadically Cellist Kian Soltani grew up in a musical family Soltani senior plays ney (a reed fute) and balaban (a cello to make quite an impression. And this pleased penetrates a soundscape of rhythms and other efects. in Austria – his mother a harpist and his father a doublereed woodwind instrument like the bassoon). the king so much, he gave Beethoven an expensive And last, but by no means least, nightlife plays the lead bassoonist. His father, Khosro Soltani, emigrated ‘I play cello and very occasionally also kamanche. I do snufox flled with gold pieces. Earlier during his role in ‘Bodrum’ featuring the jazzy ambiance of its to Vienna from Tehran in 1974 to study at the so to give the ensemble a special colour or timbre. Te travels, Beethoven had written home to his brother nightclubs. Altstaedt conjures a myriad of traditional University of Music and Performing Arts Vienna kamanche is comparable to the cello in that you play it stating that, ‘First of all, I am getting on well, very well. Turkish instruments out of his cello – everything from (MDW). Although Soltani senior principally with a bow, although the strings are tuned diferently. My art wins for me friends and esteem. What more fute to drums. • studied Early Music, he also became increasingly But truth be told, I’m not skilful enough on kamanche interested in music from his homeland. In 1984, he to perform solos or improvise.’ founded Ensemble Shiraz. Soltani junior recalls, ‘Te Kian Soltani grew up surrounded by traditional CELLOFEST 2018 ensemble’s makeup has changed over the years, but Persian music, but until a few years ago he’d been my dad’s remained the constant factor.’ focusing solely on Western classical music. ‘To me, No matter the weather, jazz bassist Arnold During CELLOFEST, instead of interrupting Kian Soltani even performs with the ensemble every they’re two separate worlds that have nothing to do Dooyeweerd has been cycling to the Bimhuis every the tradition, the workshop and the jam session so ofen. ‘We ofen play my father’s compositions, with one another. If I’m playing classical music, I Tuesday evening for the last forty-four years to give are made to revolve around the cello, of course which were inspired by the melodies he remembers concentrate on what I think the composer wanted to his famous jazz workshop. Everyone has a place featuring Arnold Dooyeweerd. For the jam session, from back home. We also use songs that our singer express. I totally shut myself of to any other type of onstage: jazz lovers, professionals, music students. Jasper Blom clears the stage for cellists Emile Visser Sepideh Raissadat learned by ear. My father arranges music. Classical music is a language in its own right Tere are hardly any jazz musicians in the and Annie Tångberg. and transcribes the music, mainly for me, because and I endeavour to speak it without any accent.’ Netherlands who haven’t been to this workshop. Persian music has no written tradition and I need In contrast to the Western music tradition, an octave As always, the jam session led by Jasper Blom starts sheet music.’ in Persian music contains twentytwo notes. Timbre, at 22.00. Entrance is free. Te ensemble’s instruments are centuries old, but still rhythm and improvisation all play an important role popular to this day, not only in Iran, but throughout as well. ‘I have a lot less experience with improvisation

94 95 24 Wed 24 Oct

Sheku Kanneh-Mason Jordi Savall, Pierre Hantaï,Rolf Lislevand & Phlippe Pierlot

10.15-12.30, Bimhuis Dmitry Shostakovich (1906-1975) 17.00, Grote Zaal Mr. de Sainte-Colombe, le père MASTER CLASS Sonata for cello en piano in D minor, opus 40 TAKE FIVE Concert XLIV à deux violes égales: Tombeau Les (Kanneh-Mason) Regrets Jean-Guihen - Allegro non troppo Tous les Matins - Les Regrets. Quarrillon. Appel de Charon. - Allegro - Les Pleurs. Joye des Elizées. Les Elizées Queyras - Largo du Monde - Allegro Rolf Lislevand theorbo and guitar Mr. De Machy (f. 1665-1692) 10.15-12.30, Kleine Zaal Pierre Hantaï harpsichord Prélude in d (viola da gamba) MASTER CLASS José Elizondo (1957) Philippe Pierlot 7 strings bass Marin Marais Otoño en Buenos Aires (Kanneh-Mason, Warenberg) Jordi Savall 7 strings bass viol by Barak Pièces de Viole du 2e livre (Paris, 1701) Kian Soltani Pan de Azúcar Norman, London 1697 and direction - Les Voix Humaines - Couplets de Folies (d’Espagne) 12.45-13.45, Bimhuis Marin Marais (1656-1728) Students around the World 15.30, Bimhuis Pièces de Viole du 3e livre (Paris, 1711) With the support of the Departament de Cultura of the LET’S TALK - Prélude Generalitat de Catalunya and the - Muzettes I – II 14.00, Grote Zaal Music and the brain - La Sautillante About the infuence of music on the brain. With Beethoven at his music collective LUDWIG (Ingrid Geerlings Mr. de Sainte-Colombe, le père (ca. 1640-ca. fute, Aisling Casey oboe, Arjan Woudenberg 1701) best… clarinet, Geerte de Koe violin, René van Munster Concert XLI à deux violes égales (ca. 1680): Arnau Tomàs cello cello and Jesse Faber bass clarinet) and neuro Le Retour Sheku Kanneh-Mason cello musicologist Artur Jaschke. - Le Retour. En gigue. En menuet. Alexander Warenberg cello - En gigue. En courante. Balet tendre. En pianelle Kennedy Moretti piano Isata Kanneh-Mason piano François Couperin (1668-1733) Les Concerts Royaux (Paris, 1722) Josep Maria Guix (1967) - Prélude, Gracieusement (2e Concert) Seven haikus for solo cello (Tomàs) - Plainte pour les Violes, Lentement et douloureusement (10e Concert) Ludwig van Beethoven (1770-1827) - Muzettes I – II, Naïvement (3e Concert) Sonata nr. 5 in D major for piano and cello, opus 102 nr. 2 (Tomàs) - Allegro con brio - Adagio con molto sentimento d’afetto - Allegro

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Roel Dieltiens Nicolas Altstaedt

19.00, Kleine Zaal Carl Philipp Emanuel Bach Beethoven at his best ... Adagio, sweet memories of better times, he pulls in Students around the World String Symphony in G major, Wq 182,1 Te Catalan cellist Arnau Tomàs will be opening the reins ever so slightly before unleashing one of - Allegro di molto the concert with music by fellow Catalan Josep the most torrential series of ascending scales ever - Poco adagio Maria Guix (1967). Guix studied History of Art, – raising himself up out of the abyss of his darkest 20.15, Grote Zaal - Presto Music Teory and Composition in Barcelona and thoughts. continued his studies at the Institute for Research and Te power of music petrifed Stalin. He took every Nieuwe Ottorino Respighi (1879-1936) Coordination in Acoustics/Music (IRCAM) in Paris. measure possible to control new musical works Adagio con Variazoni (Altstaedt) As a composer, his infuences included spectralism and kept composers on a very tight leash. Criticism Philharmonie – a compositional technique developed in the 1970s was harsh and erratic, as Shostakovich discovered Camille Saint-Saëns (1835-1921) taking natural sounds and synthesizing these into frsthand. In 1934, he wrote his Sonata in D Minor in Utrecht Cello concerto nr. 1 in A minor, opus 33 (Altstaedt) music. In his work Seven Haikus, Guix limits himself search of a simplifed, expressive musical language. It Roel Dieltiens cello - Allegro non troppo to the absolute essence as one would if writing actual was right at this time that Stalin launched the concept Nicolas Altstaedt cello - Allegretto con moto Japanese haikus. Subtle sounds juxtapose distressing of ‘Socialist Realism’ – art now had to refect the Nieuwe Philharmonie Utrecht - Allegro non troppo dissonants conjuring up images of bells in the mist, daily life of the everyday Russian citizen. Whether Johannes Leertouwer conductor fond farewells, desolate winter landscapes, futtering Shostakovich’s quest for simplicity and Stalin’s decree butterfies, hail, Morse code, a fragrant autumn had anything to do with one another is still very Gabriel Fauré (1845-1925) breeze, ... Here and there, a melody paints a picture much open to debate – but one thing was for sure; no Pavane, opus 50 amidst a multitude of soundscapes. one in 1934 knew what socialist-realistic music was By the summer of 1815, Beethoven had fnally supposed to sound like. A rumour was circulating at Auguste Franchomme (1808-1848) 20.30, Bimhuis triumphed in his personal battle againstdepression the time of this piece’s première that Shostakovich Variations on a Russian and a Scottish theme CELLOFEST 2018 and had set about writing two farewell sonatas had composed the Largo for his wife who had just lef (Dieltiens) for cellist . He'd been spurned by the him because he had been having an afair. Whether Harald Austbø love of his life, lost his patrons and was in serious it had anything to do with the power of music is Carl Philipp Emanuel Bach (1714-1788) fnancial difculty. In a letter to his lawyer, he wrote, uncertain, but Dmitri and Nina remarried not long Cello concerto in A major, Wq 172 (Dieltiens) Kwartet ‘Everything is an illusion. Friendship, monarchy, thereafer. - Allegro Haral Austbø cello, voice emperorship. Everything is mist transformed or Sheku Kanneh Mason and Alexander Warenberg - Largo maestoso Jasper Stadhouders guitar blown away by the lightest of breezes.’ Despite will be concluding the concert on a happier note - Allegro assai Ernst Glerum double bass everything, Beethoven set about rediscovering with two movements from Danzas Latinoamericanas Frank Rosaly drums himself and his music. He gave his loneliness new by José Elizondo (1972). Tis Mexican composer interval meaning, reframing it as spiritual detachment. He wrote this three-movement suite in 1997 for two studied philosophy and theology, and wrote in a cellos at the request of his fellow countryman Ecce Cello conversation book, ‘Socrates and Jesus were my and cellist Carlos Prieto. Te Argentinian tango David Fernández cello, video, electronics, exemplars.’ For musical inspiration, he looked back ‘Otoño en Buenos Aires’ (‘Autumn in Buenos Aires’) video mapping to the masters of the baroque era, which ultimately is a tribute to the tango composer Astor Piazzolla Konstantin Döben trumpet resulted in his writing a masterful fugue in the fnale and will be followed by the Brazilian samba of his Sonata No. 5. However, his most beautiful cello ‘Pan de Azúcar’ (‘Sugarloaf’), a tribute to composers passage precedes this fugue. Afer the immeasurable Antônio Carlos Jobim and Heitor VillaLobos. • 98 sorrow of his Adagio and midway through the 99 24 Wed 24 Oct

with the old master. However, Jean de SainteColombe Tous les Matins du Monde of his skill, their light and elegant French touch Soon afer he had completed his violin and piano wasn’t the recluse the flm would have us believe he Jordi Savall created the soundtrack for the reminiscent of his penchant for the classics and his studies in Bologna in 1899, Ottorino Resphigi was. He composed 180 solo works and 67 duets for successful flm Tous les matins du monde (All the aversion for exaggerated expressivity. lef for St. Petersburg where he gained orchestra viola da gamba and contributed a great deal to the World’s Mornings, 1991) in which Gérard Depardieu Soon afer his graduation, Carl Philipp Emanuel experience on viola and took orchestration lessons instrument’s development. He added a seventh string plays the role of gambist and composer Marin Marais. Bach – Johann Sebastian Bach’s second from Rimsky-Korsakov. In his early twenties at and devised a new lefhand playing technique. Te flm is the story of Monsieur de SainteColombe, surviving son – entered into the service of this time, he composed a cello concerto that he th Tey say that Marin Marais had already outgrown a celebrated 17 century master of the viola da gamba. Crown Prince Frederick of Prussia in Berlin. As never had published. It would be twenty years his teacher afer six months and was playing in the Something snaps inside him when he returns home harpsichordist, he accompanied the crown prince, before he nonetheless released its slow movement – opera orchestra by 1675. He soon received royal to fnd that his wife died while he was away playing an accomplished fautist who put on home concerts Adagio con variazioni. It was inspired by a folk song patronage playing in the king’s court and also became music to console someone else on their deathbed. almost every day. Nonetheless, there was still from Romagna, the region close to his birthplace, an accomplished composer afer taking lessons with He withdraws from the outside world and immerses plenty of time for the young Bach to compose. It’s Bologna. He had given the cor anglais an important JeanBaptiste Lully. His fame spread throughout France himself fully in playing his viola da gamba until a visit thought that he wrote his Cello Concerto in A with role in the rich orchestration. Te work perhaps of a and beyond, becoming a virtuoso on the instrument, from a young apprentice pulls him out of his isolation. Ignaz Maria in mind, the Bohemian cellist with homesick orchestration student? yet never losing sight of music’s higher purpose. His Marin Marais – a cobbler’s son – is exceptionally whom he worked in the royal chamber orchestra. With SaintSaëns’s Cello Concerto No. 1, the playing enchanted and touched his contemporaries talented and eager to learn, but Monsieur Johann Sebastian Bach visited his son in Berlin on programme returns to Paris around the year 1870. and his compositions haven’t lost any of their de SainteColombe is furious when he learns that two occasions, where he received a warm welcome as Te French Tird Republic had just been heralded eloquence to this day. Marais is performing at the court of Louis XIV. Music a great composer. Sadly, he had passed away by the in, the Prussians were besieging the city, and a In 1717, Francis Couperin became the king’s has a higher purpose than amusing the king. ‘You’re a time his son had completed his third cello concerto bloody civilian uprising had been brutally quashed harpsichordist. At court, he couldn’t escape Lully’s great court jester, but a worthless musician,’ he shouts in 1753, but he was still obviously close to his son’s … tumultuous times indeed. Even musicians had infuence (few could), but he also greatly admired at the young Marais. heart with his son’s Largo reminiscent of the start of taken up arms. SaintSaëns became a soldier in the Corelli and consequently attempted to Although Marais continues to play at the , his own Sinfonia No. 9 in F minor. Fourth Battalion of the National Guard. Teatres blend French and Italian styles. he can’t forget his old master and his words. Many C.P.E. Bach never received the recognition from were even being used to tend to the wounded years later in their last conversation, they discover Frederick that he sought. Te king had other instead of . And it was around this time Tere are several notable parallels between together the true essence of music – that being and Bach tried repeatedly to fnd an that SaintSaëns together with several likeminded Marin Marais’s youth and that of Jordi Savall. Both ‘expressing the inexpressible’. ‘Music is for that time appointment as a church musician elsewhere. individuals founded a society for French music under became acquainted with music as children by singing before we were children, before we drew breath, He fnally succeeded in 1767 when his godfather the motto ‘Ars Gallica’. in a choir and both came from humble backgrounds. before there was light,’ Monsieur de SainteColombe passed away leaving an From 1872 on, life began to return to normal. In Savall worked in a textile factory to earn enough says in the flm. He believes music lasts forever, for opening in Hamburg. Like his father in Leipzig January 1873, cellist Auguste Tolbecque premièred money to buy his frst cello and afer discovering the an incorporeal life that exists without words, where before him, Bach was now responsible for the music SaintSaëns’s Cello Concerto No. 1. Tis work heralded music of Marais, Couperin, et al., switched to playing nothing is tangible, and everything is wind – a door in the city’s most important churches. in a new era for SaintSaëns in which he reduced viola da gamba. • into another dimension. He also organized his own series of concerts. In traditional three-movement works to compact, Little is known about Jean de SainteColombe, 1773, Baron Gottfried van Swieten commissioned singlemovement pieces that no longer featured a solo but we do know that he died in 1701, the year in him to write a series of six symphonies for string instrument doing battle with an orchestra. Its minuet which Marin Marais composed Tombeau pour instruments. Tese were so popular that several would have been reminiscent of days long past for Monsieur de SainteColombe as a memorial to his publishers illegally sold copies without the many a melancholy Parisian. • master. Tese two men did indeed live close to one composer’s permission. another in Paris, and Marais defnitely had lessons

Nieuwe Philharmonie Utrecht become. In 1998, the BBC even used his melody for CELLOFEST 2018 When Gabriël Fauré moved with his young the opening of the World Cup in France. family to a more spacious apartment in a welltodo A half century earlier, Auguste Franchomme too Cellist Harald Austbø is spotted more and more Ecce Cello. Spanish video and performance artist, neighbourhood of Paris, he had to work hard to keep worked himself to the bone in Paris. He was proud to ofen in various impro and jazz enssembles. No dancer, cellist, inventor, singer, and composer up his income. He commuted three hours a day by have been appointed King LouisPhilippe’s solo cellist, surprise there: he is an extremely creative and David Fernandez presents Ecce Cello, a project train to teach his rich pupils at their homes. Tere but his royal obligations ofen meant he had to forego original player and singer. Te only thing missing born out of years of experimenting with the was little time lef for composing. lucrative soirées in rich Parisians’ homes. was his own ensemble. Te Cello Biennale cello, sound and video techniques, and trying out Fauré yearned for landscapes other than Variations on wellknown melodies were a popular encouraged him to form his own band, and to for audiences. In his home city Berlin, he has a Station St. Lazare and sounds other than his pupils’ genre at these events and Franchomme had mastered create a programme for CELLOFEST. Looking at following of a select hipster audience. Tis is his sonatas. He wrote the following to a friend of his, this art better than most. For the king’s international the musicians Harald has brought together, we can frst time performing in the Netherlands. For this ‘Te only new thing I have been able to compose visitors, he created variations on national anthems expect this to be good, if not great. Biennale, Fernandez created a video mapping during this shuttlecock existence is a Pavane – and for his soirée hosts, he drew on the everpopular installation, Te Power of the Cello, which will be elegant, assuredly, but not particularly important …’. opera repertoire. His Variations sur deux thèmes presented during the Biennale. Little did he know just how famous this piece would (Russe et Ecossaise) (1835) give a good impression

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09.30, Grote Zaal (1913-1976) BACH&BREAKFAST Sonata in C major, opus 65 (Maisky) - Dialogo. Allegro Jordi Savall (viola da gamba) - Scherzo-Pizzicato. Allegretto Johann Sebastian Bach (1685-1750) - Elegia. Lento Suite nr 1 in C major, BWV 1007 - Marcia. Energico - Prélude - Moto perpetuo. Presto - Allemande - Courante Ludwig van Beethoven (1770-1827) - Sarabande Sonata nr. 4 in C major, opus 102 nr. 1 for piano - Menuet and cello (Haimovitz) - Gigue - Andante - Allegro vivace In this Biënnale, for the very frst time, - Adagio - Tempo d’Andante - Allegro vivace Bach&Breakfast will see a performance of a Bach suite not by a cellist. Jordi Savall plays the 1st Viktor Tsoi suite transcribed in C, on a '7 string bass viol' by Kukushka (Haimovitz) Matt Haimovitz Barak Norman, London 1697 Pussy Riot Punk Prayer - Virgin Mary, Put Putin Away 10.15-12.30, Bimhuis (Haimovitz) MASTER CLASS

Nicolas Altstaedt 17.00, Bimhuis TAKE FIVE

10.15-12.30, Kleine Zaal Orpheus… MASTER CLASS That's Us! Michel Strauss Lidy Blijdorp cello Julien Brocal piano Vasile Luca cimbalom 12.45, Bimhuis Students around the World (1811-1886) La lugubre gondola Traditional gypsy music 14.00, Grote Zaal Two guitars Ciocărlia (lark) Michel Strauss Mick Stirling Friendship, Claude Debussy (1862-1918) Lidy Blijdorp Syrinx Resistance & Protest (1882-1971) Mick Stirling cello Infernal Dance of All Kastchei's Subjects and Mischa Maisky cello Lullaby from The Firebird (Blijdorp) Matt Haimovitz cello Yoram Ish-Hurwitz piano Roel Dieltiens cello Lily Maisky piano Willem Vermandere voice, guitar Christopher O’Riley piano Willem Vermandere Gabriel Fauré (1845-1924) Own compositions (Dieltiens, Vemandere) Sonata for cello and piano nr 2 in G minor, opus 117 (Stirling) - Allegro - Adagio - Finale: Allegro vivo

Willem Vermandere 102 103 25 Thu 25 Oct

Alban Gerhardt Cellokwartet Ferschtman

19.00, Kleine Zaal Friendship, Resistance & Protest Students around the World Despite a long list of ailments and a virtual total loss in which Beethoven experimented with new musical of hearing, Gabriel Fauré remained prolifc right forms and old techniques, writing ‘Freie Sonate’ up until his death. In the spring of 1921, he started (‘Free sonata’) at the top of the manuscript. 19.15, Grote Zaal writing his Cello Sonata No. 2. Illness forced him INTRODUCTION to stop work for a month, writing in a letter, ‘It’s Te Soviet rock band Kino led by Viktor Tsoi was Saskia Törnqvist annoying being old! But when I get back to work soon banned when it became clear that Tsoi wasn’t I’ll notice it less.’ Fauré’s sonata efervesces with a just singing about the weather, but the war in remarkable zest for life despite his fragile health. He Afghanistan and Soviet oppression. He was granted 20.15, Grote Zaal dedicated the piece to his friend, composer and cellist more freedom afer Gorbachev’s Perestroika, but it Charles Martin Loefer. was shortlived, as he died soon thereafer in a car Antwerp Symphony accident. Recordings were found in the wreckage Benjamin Britten was on good terms with several of his car with several new songs that Kino would Orchestra Russian musicians despite the antiSoviet sentiment release posthumously. In Kukushka (‘Cuckoo’), Tsoi In collaboration with the Donderdagavondserie 20.30, Bimhuis in his home country. He was so impressed by cellist sings, ‘My palm has turned to a fst. And if there’s Jean-Guihen Queyras cello CELLOFEST 2018 Mstislav Rostropovich at the British première gunpowder, give me the fre.’ Maya Fridman cello of Shostakovich’s Cello Concerto No. 1 that he Alban Gerhardt cello Chesaba immediately agreed to the cellist’s request to compose Pussy Riot began its provocative performances Cellokwartet Ferschtman: Dmitry Ferschtman, Abel Selaocoe cello, vocals a new work. Rostropovich later recounted the frst in unorthodox public venues in 2011. Singing Larissa Groeneveld, Ketevan Roinishvilli, Willem Ali McMath double bass time that they ran through the piece together, ‘I was Punk Prayer in the Cathedral of Christ the Saviour in Stam Sidiki Dembélé percussion, kora so thrilled I couldn’t tell you how we played, but we led to the arrest of three band members. Te Klaus Mäkäla conductor fnished the frst movement at the same time. I stood song is a protest against Putin in the form of a prayer, up, jumped over my cello and hugged the composer in ‘Virgin Mary, Mother of God, banish Putin [...] don’t Mathilde Wantenaar (1993) Jörg Brinkmann Trio a spontaneous outburst of gratitude.’ It would be the upset His Saintship, ladies, stick to making love and New composition for cello quartet* (world premiere) Jörg Brinkmann cello start of a lifelong friendship. babies’ and can still be viewed on YouTube to this day. Wim Henderickx (1962) Jeroen van Vliet piano Cellist Matt Haimovitz – born in Israel to parents who Cello Concerto (Sangita)** (Queyras, world premiere) Dirk Peter Kölsch drums Cellist Joseph Linke was a member of the famous fed – will be providing a platform at the interval Schuppanzigh Quartet that inspired Beethoven in Biennale for Viktor Tsoi and Pussy Riot. • later life to compose some of his greatest masterpieces. (1960) * This work was commissioned by the Cello Biënnale Amsterdam When Count Andrey Razumovsky’s palace burnt Omaramor (Fridman) with fnancial support from the Performing Arts Fund (FPK). down and the quartet lost its home, Beethoven **This work was commissioned by the Antwerp Symphony persuaded his patron, the Countess Erdődy, to take Brett Dean (1961) Orchestra with fnancial support from the Vlaamse Gemeenschap. Linke into her employ. Beethoven wrote two farewell Cello concerto*** (Gerhardt, world premiere) *** This work was commissioned by the Cello Biënnale cello sonatas (Op. 102 No. 1 & No. 2) for the talented Amsterdam, Sydney Symphony Orchestra, Berliner cellist when he moved abroad with his employer. His Philharmoniker, Swedish Radio Symphony Orchestra, Minnesota Orchestra and Muziekgebouw aan ’t IJ. Cello Sonata No. 4 marks the start of a new period

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Orpheus… Tat’s Us! Orpheus’s music had a power that allowed him to Flemish singer Willem Vermandere. ‘Willem is an direction, as I enjoy composing in a totally abstract Cello Biennale is open to all cultures, which is why control the dark underworld. Cellist Lidy Blijdorp incredibly poetic person, an early bird who’s up and fashion and exploring the musical material in full.’ this commission is a perfect match.’ and her ensemble selected a programme in which about at the crack of dawn composing the most Wantenaar studied composition under the underworld would play a role, but also the beautiful instrumental music imaginable. We’ve Wim Henderickx and is honoured to be sharing Brett Dean read in the newspaper that he’d be phoenix rising from the ashes and Syrinx’s mythical played his music together and arranged a few for the stage with him at this year’s Biennale. ‘When I writing a cello concerto for Alban Gerhardt. Tis transformation. cello. It’s melancholy, just perfect for cello.’ went to study at the conservatory, I thought there was news to him! ‘I’ve known Alban since he was Liszt composed his La Lugubre Gondola in the Vermandere’s instrumental music will be performed was a certain type of music I wasn’t allowed to a teenager. I even played with his father in the winter of 1882/83, not long afer he had been visiting at the Cello Biennale one time only and for the frst compose. Tis couldn’t have been further from the Orchestra when he made his Richard Wagner in Venice. Wagner died several time in public. Dieltiens continues, ‘Willem will also truth. Wim Henderickx extends a warm welcome to debut with them. Alban also came to stay with months later. His fnal journey back to Bayreuth be singing a few of his own songs. You hear them everyone and is open and enthusiastic,’ Wantenaar me in Melbourne where he stated in an interview started with a gondola procession through Venice wherever you go in Flanders … at weddings, funerals recalls. And as Wim Henderickx explains this, ‘My that I’d promised to write a cello concerto for that prompted Liszt to dedicate this work to his good and any other important live event. Te power of his music is almost always inspired by nonWestern him. We had actually discussed this, but that’s friend. music lies principally in the lyrics that strike people cultures – the whole world serves as a source of certainly one way to get things done, I guess. Te Rebirth and new life play a key role in the myth of right in their hearts. He creates his own world, but it’s inspiration to me.’ Sydney Symphony Orchestra thought it would make the phoenix rising from its own ashes. In Stravinsky’s a world that appeals to a wide audience. In the 1990s, he explored Indian music and composed for a ftting fnale to my residency there. What’s more, ballet Te Firebird, the mythical beast bewitches I met him over thirty years ago, when I replaced various ragas, an Indian method for structuring Alban’s network is such that it’d be a piece of cake for an evil sorcerer and his followers with an infernal Wieland Kuijken in Sigiswald Kuijken’s quintet. We music, akin to the way Western music uses minor and him to fnd other interested parties, including the dance, singing them into a deep sleep. Te nymph rehearsed in a small chapel opposite Willem’s home. major keys. ‘My cello concerto’s subtitle is Sangita.’ In Cello Biennale. Syrinx was also enchanted, being transformed into We got on like a house on fre. Day in, day out, both Sanskrit, this term is used to denote ‘performing arts’ It continues where an earlier work of mine for solo reeds at a river’s edge to escape pursuit by the God of us are Orpheuses – always walking in front, never in general, not just music. A centuriesold book about cello leaves of – Eleven Oblique Strategies. I’m very Pan. Tereafer, he would use the reeds as panpipes. looking back.’ sangita describes various rasas or moods. I selected eco-conscious and love recycling things, but this Blijdorp will be playing Debussy’s Syrinx on cello. In Vermandere’s own words, ‘Orpheus … that’s us! nine of these ranging from sadness and anger to piety concerto will nevertheless be very diferent. My Te programme also includes two traditional gypsy Mollifying hearts with our song, masters over life and eroticism. I paired each rasa with its own raga and earlier solo concertos were ofen a battle between compositions. It’s ofen said of Russians that they and death, raising our loved ones from the dead so together they form a path. the individual and the ensemble. For example, the die twice – once for their motherland and once that they may live again. Day afer day, throughout Te solo part is inspired by the sarangi, an Indian orchestra attempts to overpower the soloist in my while listening to gypsy music. In the Russian piece our lives, we have to descend into our own dark cousin of the cello. Glissandi and ornamentation trumpet concerto, Superhero, and to pursue the soloist Two Guitars, the cello leads the dance and in the underworld and cross the dark river of despair. also play an important role. Another characteristic in my viola concerto. Romanian piece Ciocărlia, the cello warbles like a Everyone knows musicians are delicate souls, easily of Indian music is issuing challenges to one another. Tis concerto is about reinforcing and nurturing one virtuoso lark. scared, but their song is revitalizing. My cello concerto is also full of contrasts. Tere are another, not about bullying. It’s about sharing and And there’s just no getting around it … despite the melodic passages, but also rhythmic and rougher exchanging ideas. Nonetheless, the music has a lot of While Maarten Mostert and cellist Roel Dieltiens everlasting, deadly doubt, every Orpheus has to sing passages even. It’s also very much a dialogue between energy. Fast. Virtuosic. Tat about sums it up.’ • were discussing the theme for this seventh his song anew every single day.’ • cellist and orchestra. But the orchestra doesn’t actually Cello Biennale, Dieltiens immediately thought of accompany the soloist, instead it goads him and challenges him.’ Immersing himself in Indian music felt like a homecoming for Henderickx afer so many years. ‘It’s very current – our world’s growing. And the

Antwerp Symphony Orchestra Liza Ferschtman played Mathilde Wantenaar’s new Osvaldo Golijov (1960) grew up in Argentina in a string octet for the frst time last year on 23 March. household flled with classical music, klezmer and Ferschtman’s father Dmitri Ferschtman was so tango. Afer completing his piano and composition impressed that he asked Wantenaar to compose studies in 1983, he lef for Jerusalem where he a new piece for his cello quartet. Ferschtman CELLOFEST 2018 continued studying, immersing himself in the melting senior once taught Mathilde Wantenaar and even pot of cultures there. Tree years later, he moved to Maarten Mostert, the Cello Biennale’s artistic director. Chesaba We received a tip from Giovanni Sollima, Jörg Brinkmann Trio. Improviser and jazz cellist the USA to study under George Crumb. A scholarship And so, a composition for the seventh edition of the went to a performance, and were instantly sold. Jörg Brinkmann is a remarkable phenomenon. He named afer Argentinian playwright Omar del Carlo Biennale was born. Young South African cellist Abel Selaocoe, connec- has been a guest at the Cello Biennale several times, then gave him the opportunity to study under Wantenaar recounts, ‘I write a lot based on ting classical cello with African song and blues, is for example in 2016, when he appeared in ‘Te Tell- Oliver Knussen in Tanglewood. tranquillity, it’s a magical space for me. I love it. the ofspring of the rainbow nation 3.0. Abel is a Tale Heart’ with Artvark and Claron McFadden. It was here that he composed Omaramor, an ode to But I love many other things too. Maybe my new gifed cellist, an amazing singer, and an entertainer. Now he is returning with his own trio, with his long Buenos Aires inspired by tango artist Carlos Gardel’s composition will be something really lively. Tere’s While studying at the Royal Northern, he ran into time drummer Dirk Peter Kölsch, and with the immortal hit. Sadly, Gardel died in an air crash at the an imposing climax in my octet – I’d like to explore bass player Ali McMath and West African percus- most sophisticated jazz pianist in the Netherlands: height of his fame. He’s still adored in Argentina to this rougher side a little further. But as soon as I start sionist Sidiki Dembélé, and so Chesaba was born. Jeroen van Vliet. this day. writing the music ofen takes me in a totally diferent

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09.30, Grote Zaal 14.30, Grote Zaal BACH&BREAKFAST Sietse-Jan Weijenberg Kronberg Academy: Johann Sebastian Bach (1685-1750) Music from my Suite nr 2 in D minor, BWV 1008 - Prélude Homeland - Allemande Hayoung Choi cello - Courante Ivan Karizna cello - Sarabande Santiago Cañón Valencia cello - Menuet Naoko Sonoda piano - Gigue Jovica Ivanovic accordion

Hayoung Choi Isang Yun (1917-1995) 10.15-12.30, Bimhuis Intermezzo for cello and accordion (Choi) MASTER CLASS Traditional Roel Dieltiens Arirang (Choi)

Ivan Karizna (1992) 10.15-12.30 uur, Kleine Zaal Solo sonata (2018) (Karizna, world premiere) MASTER CLASS Traditional Chu Yi-Bing Russian folk music (Karizna)

Guillermo Uribe-Holguin (1880-1971) 12.45 uur, Bimhuis Sonata (Canon Valencia) Students around the World León Cardona (1927) Bambuquisimo (Canon Valencia, arr. Edwin Guevara)

Carlos Vieco Ortiz (1900-1979) Patasdilo (Canon Valencia, arr. Edwin Guevara)

108 Ivan Karizna Santiago Cañon Valencia 109 26 Fri 26 Oct

16.00, Kleine Zaal 19.00 uur, Kleine Zaal Kronberg Academy: LET’S TALK THE COMPARISON Music from my Homeland Te frst cello festival for talented young musicians exclusively featuring Russian composers. He loves The Power of Bows took place in the German town of Kronberg to play pieces that relate to his homeland, such as Mick Stirling and Sietse-Jan Weijenberg twentyfve years ago. In the meantime, the Galina Gorelova’s piece for solo cello. At the Biennale, Cello play their cellos using various bows made by Kronberg Academy has grown to become a highly he’ll be playing Russian folk music, as well as his own Mirjam van Hengel speaks with Henkjan bow-makers whose work is exhibited during the reputable and internationally acclaimed institute for composition Solo Sonata. Honing, Persis Bekkering, Anna Enquist, Biennale. exceptionally talented string players and has been Geneviève Verhage and Maarten Mostert partnering with the Cello Biennale for many years In keeping with the theme about the enchanting power of the cello. now. Academy cello students will be presenting their ‘Music from My Homeland’, Santiago Canón Valencia 20.15 uur, Grote Zaal work in a concert in Amsterdam and conversely, has selected a sonata by Guillermo Uribe Holguín. NATIONAL CELLO COMPETITION three National Cello Competition fnalists will be Born in Bogotá, Colombia, it would be many years 17.30, Grote Zaal given the opportunity to follow masterclasses in before Uribe encountered a professional orchestra, Final Kronberg. Alumni from the academy performing when – aged 23 – he moved to New York. Four years Faith, Hope and The three fnalists of the National Cello at this year’s Cello Biennale include Harriet Krijgh later, he earned a scholarship to move to Europe and Competition cello Anastasia Kobekina and Kian Soltani. to study in Paris under Vincent d’Indy. From 1910 to Solace Symfonieorkest van het Conservatorium 1935, he was the director of the music conservatory Mischa Maisky cello van Amsterdam SouthKorean Hayoung Choi selected Intermezzo in Bogotá, which transformed into a Europeanstyle Giovanni Sollima cello Dirk Vermeulen conductor composed by her fellow countryman Isang Yun. institution. As the most infuential Colombian Nicolas Atstaedt cello Yun grew up under Japanese occupation and studied composer of his time, he admired Debussy greatly, Cello Company: Maya Fridman, Emma Kroon, Robert Schumann (1810-1856) composition in Tokyo. When war broke out, he but was also infuenced by the rich traditions of his Maximiliano Segura Sánchez cello Cello concerto in A minor, opus 129 returned home and became an active member of homeland. Lily Maisky piano - Nicht zu schnell the Korean resistance and was ultimately taken Daniël Kool piano - Langsam prisoner in 1942. He later continued his studies Bambuquisimo by León Cardona García and - Sehr lebhaft in Berlin and soon established quite a reputation Patasdilo by Carlos Vieco Ortiz are two pieces Gabriel Fauré (1845-1824) throughout Europe. He attempted to fuse East Asian refecting the traditional Colombian bambuco and Élégie (Maisky) and European avant-garde music for concert hall pasillo music styles. Both styles are in threefour time Circa 23.00, Grote Zaal performances. In 1967, he was kidnapped by and are similar to a waltz. Te pasillo is even referred György Kurtág (1926) NATIONAL CELLO COMPTITION under suspicion of espionage. It was to as the Bogotá waltz and was popular among Az hit… two years later before he was released in response to Colombia’s elite before independence. Te bambuco Népdalféle Results from the a petition signed by countless musicians including arose in the 19th century and combined African Kroó György in memoriam (Altstaedt) Stravinsky and Stockhausen. Intermezzo (1980) rhythms, South American melodies, and Spanish jury and prize-giving dates back to a period in which Yun was striving for forms and structures. You’ll also hear jazz infuences (1875-1935) peace and harmony. Cello and accordion ofen melt in Cardona’s Bambuquisimo. • Kaddish (Altstaedt) ceremony into each other’s sound – a beautiful analogy for his eforts to reunite North and South Koreas. Maxim Shalygin (1985) Arirang is a centuriesold song that is still very Homage to Alfred Schnittke (Cello Company) popular in South Korea. It tells of hope, desire - Sarabande and a deeprooted belief in a better future. Koreans - Baroque rap sing this song to inspire themselves with courage - Threni during difcult times, but also to celebrate. It - Waltz became the anthem of the Korean resistance under - Hymn Japanese occupation. It’s even been performed - Lullaby at the World Cup and Olympic Games – sung by the Vienna Boys Choir and played by the Giovanni Sollima (1962) 20.30, Bimhuis Orchestra. Lamentatio (Sollima) CELLOFEST 2018 Ivan Karizna comes from a musical family and (1908-1992) Maya Beiser was born in Dzyatlava – a small town in Belarus ‘Louange à l’Éternité de Jésus’ uit Maya Beiser cello not far from the Lithuanian border. When he was Quatuor pour la Fin du Temps (Maisky) Kate Valk recorded voice 7 years old, he took lessons with Vladimir Perlin and ten years later he went to study in Paris under Jerôme Pernoo. Karizna has already won many Maarten Vos international prizes and played with numerous major Maarten Vos cello & electronics orchestras. His frst CD was released several years ago

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première on 15 January 1941 by fellow prisoner and prisoners a brief escape from the atrocities of the cellist Étienne Pasquier and Messiaen himself on present with a vision of the infnite. piano. Te cello’s tempo marking is infniment lent (‘infnitely slow’). Messiaen wanted to give his fellow

National Cello Competition – Te Final – Schumann’s Cello Concerto Konzertstück mit Begleitung des Orchesters’ history is was incoherent. Critics attributed the work’s supposed certainly no bed of roses. When Schumann penned weaknesses to the composer’s deteriorating mental the work’s fnal barline – 168 years and 2 days ago – health. he was in his own words very pleased with the piece. More than a century later, Rostropovich even Mischa Maisky & Lily Maisky Two weeks previously, he’d entered in his journal asked Shostakovich to tidy up the orchestral that he was really in a mood to compose. It’s possible accompaniment and reorchestrate the piece as a that a performance of Fünf Stücke im Volkston on the whole. Fortunately, there have been plenty of cellists occasion of his 40th birthday that summer had once over the past hundred years who have acknowledged Faith, Hope & Solace again whetted his appetite for a cello work. the piece’s beauty – , Gérard Hekking, Fauré was devastated when his fancée Marianne Ravel used the Aramaic text from the Kaddish – one However, no cellist at the time dared tackle his Pierre Fournier ... It’s mainly thanks to them that Viardot broke of their engagement. He was of Judaism’s most important hymns of praise – for his concerto. Four years went by and it still had not been Schumann’s Cello Concerto has earned a place in the convinced that a sombre future lay in wait for him, piece Kaddish that he composed for Russian soprano performed. Te cellist who had helped Schumann concert hall repertoire. and his broken heart did indeed fuel many of his AlvinaAlvi. Te Kaddish sings God’s praise while edit the cello score thought that the tempo in the compositions in the years that followed. SaintSaëns mourning the dead and in Ravel’s work faith, hope frst movement was way too fast and even set about Te greatest challenge for the became a good friend and provided him solace and and solace come together. simplifying the part himself. Meanwhile, Schumann National Cello Competition fnalists will be the distraction. His work for cello and piano frst saw was teetering on the brink of psychosis and to quiet interaction between soloist and orchestra that the the light of day during a home recital almost three Shalygin composed his Homage to Alfred Schnittke the voices in his head, he immersed himself in the concerto demands. Te orchestra places the cello on a years afer the splitup. Tis piece would go on to be for three cellos at the request of choreographer task of proofreading the publication. Six days afer pedestal – delicately framing its lyrical passages – yet published three years later as Élégie. Te cello sings, Lonneke van Leth. Schnittke’s love for early music he’d put his manuscript in the post, he attempted to accompanying parts in the orchestra ofen miss a frst full of nostalgia, but then the piano evokes bittersweet is expressed in the form of a sixmovement suite that commit suicide in the Rhine. beat leaving them utterly dependent on the soloist. memories that derail the music into utter despair. starts with a sinister saraband and ends with a lyrical For a long time, his wife, Clara, was the only fan of Who will interpret and render Schumann’s intentions It was to be one of Fauré’s last romantic outbursts. lullaby and baroque bass lines. Distressing dissonants this work. In her diary, she wrote, ‘Te romance, the most closely? Which cellist will succeed in combining Better times soon returned – his new wife was heavily juxtapose lilting notes expressing sorrow, yet always swing, the freshness, the humour, and at the same a romantic soul with a graceful zest for life? • pregnant with their frst son at the piece’s première in with a glimmer of hope and a light at the end of the time the intensely interesting way in which cello 1883. tunnel. and orchestra are combined, quite carry one away ...’. Oddly enough, no one initially shared her opinion. It Az hit (Der Glaube), Népdalféle (Im Volkston) and Sollima not only drew inspiration for Lamentatio ofered too little opportunity for cellists to show of György Kroó in memoriam are three short works from the cultures of several countries around the their virtuosity, the orchestral accompaniment was for solo cello from György Kurtág’s Signs, Games Mediterranean Sea, but also from the traditions of his boring and overly scored, and as a whole the piece and Messages cycle. Kurtág has been composing short own island Sicily. During Holy Week, the week before pieces for strings since 1989, ofentimes in response Easter, processions are held depicting the sufering of to current events, other times based on earlier Christ and their accompanying lamentations originate compositions. He wrote Az hit for soprano and piano from Gregorian hymns. Sorrow, despair, anger and CELLOFEST 2018 in the mid1960s, based on text from the 16thcentury resignation fght for precedence in this virtuoso work Hungarian bishop and preacher Péter Bornemisza, performed by the composer himself. ‘Cello Rock Star’ (Rolling Stone) Maya Beiser Maarten Vos. Soundscape artist and cellist Maarten and added its rearrangement for solo cello to his presents Te Day, the European premiere of Bang Vos is something diferent. He is unique and notable string cycle some thirty years later. With Népdalféle, Ravaged by cold and hunger in a POW camp during on a Can composer David Lang’s new multimedia in his genre. With a setup onstage which makes it Kurtág manages to capture the essence of Hungarian World War II, the French composer Messiaen had project which he created specially for her. With look like he is working in his own studio, encased folk music in just thirty seconds. Descending numerous colourful visions including dreams of Maya’s live cello, 4 cellos on tape, New York’s fnest by electronic devices, pedals, and buttons, he progressions of notes resonate in György Kroó in angels heralding the Apocalypse. He wove these actress Kate Valk’s voice, and an intoxicating litany composes a new cello symphony that’s both dreamy memoriam as cautious and deliberate footsteps. experiences into the music that he composed of internet-sourced phrases, David Lang once again and grasping at the same time. Glimmers of hope emerge with each progression while still a prisoner. ‘Louange à l’Éternité de Jésus’ creates a magical soundscape. starting on an everhigher note – fellow composer from Quatuor pour la fn du temps Kroó’s last journey leading towards the light. (Quartet for the End of Time) was performed at its

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Harriet Krijgh Giovanni Sollima

09.30, Grote Zaal 14.00, Bimhuis 14.15, Grote Zaal 16.30, Grote Zaal BACH&BREAKFAST FAMILY PERFORMANCE (6+) Harriet Krijgh Cello Warriors Holland Baroque & Amsterdam Johann Sebastian Bach (1685-1750) A production of Oorkaan and Cello Octet Giovanni Sollima Sinfonietta Suite nr 1 in G major, BWV 1007 Amsterdam Giovanni Sollima cello Kristina Blaumane cello - Prélude Cello Octet Amsterdam: Sanne Bijker, Job Holland Baroque Harriet Krijgh cello - Allemande Greuter, Rares Mihailescu, René van Munster, Claron McFadden voice - Courante Alistair Sung, Eduard Ninot Roig, Geneviève Giovanni Battista Costanzi (1704-1778) Amsterdam Sinfonietta - Sarabande Verhage, Susanne Rosmolen Cello concerto in G major Daniel Bard violin and leader - Menuet Josephine van Rheenen, Jochem - Largo assai - Gigue Stavenuiter, Pim Veulings choreography - Fuga (allegro) Kate Moore (1979) Caecilia Thunnissen, Sanne Bijker artistic - Largo Arc-en-Ciel, for 4 cellos* (world premiere) direction - Allegro ma non presto 10.15-12.30, Bimhuis Erin Coppens dramaturgy Dobrinka Tabakova (1980) MASTER CLASS Sanne Oostervink scenography Giovanni Battista Costanzi Cello concerto (Blaumane) Tim van ’t Hof light Cello concerto in F major - Turbulent Matt Haimovitz How does courage sound? Do you know the - Andantino - Longing eight Cello Warriors? They are fexible, strong and - Andantion ‘piccato’ - Radiant they are pretty good at sleight of hand. Armed - Presto 10.15 - 12.30 uur, Kleine Zaal with their cello and bow they go into battle and Louis Andriessen (1939) MASTER CLASS conquer everyone’s heart. Giovanni Sollima (1962) …miserere… Refections on Costanzi (world premiere) Reinhard Latzko David Lang (1957) Johann Sebastian Bach (1685-1750) New work** (Krijgh, McFadden, world premiere) Brandenburg concerto nr 3 in G major, BWV 1048 - [Allegro] - Adagio - Allegro * This work was commissioned by the Cello Biënnale Giovanni Sollima Amsterdam with fnancial support from the Performing Arts Fund (FPK). Refections on Bach (wereldpremière) ** This work was commissioned by the Cello Biënnale Amsterdam and Amsterdam Sinfonietta with fnancial support from the Eduard van Beinum Stichting and the Amsterdams Fonds voor de Kunst.

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Holland Baroque & Giovanni Sollima Back in 2014, Cello Biennale paired Giovanni Sollima Sollima is both a composer and performer, and also up with Holland Baroque for the frst time – it soon focuses his creative talents almost exclusively on the became clear that we’d hit the jackpot. In his new cello. In the same way that Costanzi met the world piece, the Sicilian cellistcomposer will once again through music, Sollima meets Costanzi and Bach in be refecting on early music. Sollima will also be his own compositions. playing two works for solo cello and orchestra by the longforgotten and sincerediscovered, 18thcentury Bach dedicated his Brandenburg Concerto to cello virtuoso Giovanni Battista Costanzi. Since Margrave Christian Ludwig of Brandenburg-Schwedt his performance at the 2014 Biennale, Sollima has in 1721, the year in which Costanzi entered into released two CDs of music by his namesake and Ottoboni’s service. His position at the court in Köthen fellow countryman. had become somewhat uncertain and he was fshing Costanzi entered into the service of for a new appointment with this most fattering of Cardinal Pietro Ottoboni in Rome aged only 17. commissions. His work was probably never played Ottoboni was an incredibly rich patron of the arts at the Brandenburg court because the margrave had – and Alessandro Scarlatti were too few musicians in his employ. Bach was paid well also in his service and Handel had even composed for his services and the music was stored neatly away, several oratorios for him. Costanzi’s career took of only to reappear 130 years later. and within a few years he had been promoted to For his Brandenburg Concerto No. 3, Bach prescribed Kapellmeister at the Church of San Luigi dei Francesi three violins, three violas, three cellos, a double bass – the frst of many prestigious appointments to come. and a harpsichord. All musicians alternate as both His fame as a cello virtuoso preceded him and he soloist and accompanist. Te second movement – was mentioned in many writings. He even remained comprising only two chords written in Bach’s own highly accomplished until a ripe old age. A caricature handwriting – remains a mystery to musicians to of him even exists, which was a right reserved for this day. Did he intend it merely as an intermission only the most brilliant musicians. He wrote sonatas between two fast movements? Or did he intend it as and sinfonias for his own use featuring cello. To an invitation for a soloist to pull out all the stops? 21.00, Grote Zaal Costanzi, virtuosity served but one purpose – expressivity. In honour of Bach, Sollima has written a work for Cello Coupé Although he probably never ventured so much as a double instrumentation inspired by the double A non-stop carousel of musical surprises in the step outside of Rome, his music is permeated with choruses that originated at the San Marco Basilica in theatrical setting of a Parisian ‘Grand Café’ - this many international infuences. He stayed in touch Venice and that were much loved by Bach himself. • is the closing party of the Cello Biennale 2016. with travellers, diplomats, nobility and musicians The stage of the Grote Zaal of the Muziekgebouw from across the whole of Europe. Just like Costanzi, will be transformed into a Grand Café that will become fuller and fuller as more and more musicians enter: a band, ensembles and very many cellists. The background music in this café will highlight pieces played at this Cello Biennale.

With Amsterdam Sinfonietta, Julian Schneemann, Claron McFadden and all cellists that are still present at the Biennal James Murray light and projections

Holland Baroque & Giovanni Sollima 116 117 27 Sat 27 Oct

Amsterdam Sinfonietta Sadly, his piece had no hidden magical powers and Kate Moore – winner of the Matthijs Vermeu- the Schönberg Quartet was disbanded in 2009. len Prize in 2017 and this season’s ‘kindred spirit’ at the Muziekgebouw aan ‘t IJ – has completed her Bang on a Can’s composer David Lang wrote a new second work for Amsterdam Sinfonietta, Arc en ciel. piece for cellist Harriet Krijgh, soprano Claron Mc- Te orchestra’s four cellists take centre stage. She has Fadden and Amsterdam Sinfonietta at the Cello Bi- also added an accompaniment from what she refers ennale’s request. It’s actually coincidental that the to as ‘shadow instruments’. cello plays such a prominent role in Lang’s work, She’s ofen inspired by nature, but this time around ‘When we founded the Bang on a Can AllStars, we it’s Adriaan Fokker’s 31tone equaltempered organ really didn’t have any picture of an ideal combination here in the Muziekgebouw aan ‘t IJ that caught her of instruments. We gathered a group of incredibly attention. ‘I’m fascinated by the organ and its pure talented musicians around us and we grew from triads. You can hear the same tuning in the cello’s there. Maya Beiser has taught me everything I know fageolet tones and it’s these that form the basis for about the cello. Because I’ve composed for her, I’ve my new work.’ learned how the cello works, what makes it sound Claron McFadden Kristina Blaumane When Moore hears Fokker’s organ modulate, she sees good ... and how it sounds as David Lang.’ colours – a phenomenon known as ‘synaesthesia’. She Lang didn’t want to reveal anything about his new describes this as follows, ‘When I listen to the Fokker work when I interviewed him for this article, stating, organ, I feel like a bird fying through a rainbow.’ ‘It’s not fnished yet and anything can change in the meantime.’ • Te Bulgarian composer Dobrinka Tabakova wrote a cello concerto for the second edition of the Cel- lo Biennale back in 2008 – performed then by Am- sterdam Sinfonietta and cellist Kristina Blaumane. It was a farewell gif to Blaumane who had been the orchestra’s solo cellist for many years. Te piece was commissioned just a year afer Tabakova had earned her doctorate from King’s College London. Fresh on her mind were the musical musings of Roman phi- losopher Boethius, who she’d been researching, and her prevailing interest in larger musical structures. Tabakova views herself as a musical marathon run- ner and ofen works for weeks on a mere tenminute fragment. How should the music progress? How can I create longer lines? Her cello concerto’s three move- ments blend seamlessly into one another. Following a turbulent opening and a lyrical middle movement, the concerto ends in excitement. ‘I think it’s great if people leave a concert invigorated and happy.’

Louis Andriessen premièred his piece …miserere… in 2007. He found the inspiration for this piece – originally written for string quartet – in a book about a 16thcentury alchemist who sought melodies using magical powers. Andriessen created variations on Gregorio Allegri’s mythical Miserere mei, Deus com- posed for Lent masses around 1630. It was forbidden to play this music outside the Sistine Chapel, but the Vatican had not reckoned on Mozart. He listened to the music, remembered every note and subsequently transcribed the entire work from memory. Financial cuts threatening Schönberg Quartet fund- ing prompted Andriessen to write this piece. ‘I’m going to write a Miserere for you and we’ll perform it at the Ministry,’ Andriessen had promised them.

118 Amsterdam Sinfonietta 119 Cellisten

Nicolas Altstaedt (1982) Monique Bartels studied American cellist Ashley Kristina Blaumane Lidy Blijdorp is a Santiago Cañón Colin Carr (Liverpool, South Korean Hayoung studied at the Hochschule with Jean Decroos Bathgate is a respected (Riga, Latvia) was born in young, passionate Valencia (Colombia, 1957) started playing Choi (Bielefeld, 1998) für Musik in Berlin under at the Amsterdams fgure in new music. Riga and graduated from cellist with enormous 1995) started playing the the cello when he was was taught to play the Boris Pergamenschikow, Muzieklyceum. For years She is the cellist of the the Latvian Academy of narrative power. She cello at the age of four, 5 years old. Three years cello by Hyong Won and later under Eberhard she was a member internationally acclaimed Music and the Guildhall graduated from the studying with Henryk later he was accepted Chang and Myung-Wha Feltz. Nicolas Altstaedt is of various chamber sextet Bang on a can All- School of Music & Drama. Conservatories of The Zarzycki. He went on into the Chung at the Korean a passionate performer music ensembles in the Stars. Bathgate inspires From 1998 she was Hague, Amsterdam, to study with James School of Music, where National Institute for of contemporary music Netherlands and abroad. composers all over the the principal cellist of and Paris with the Tennant and Andrés Diaz. he studied with Maurice the Gifted in Arts in and has performed dedicated world to compose new Amsterdam Sinfonietta highest distinction. Currently he is studying Gendron at frst, and later Korea, and studied at numerous works, his work Apparence I cello music. In 2014, and in 2007, she was During the frst National with Wolfgang Emanuel with William Pleeth. In the Purcell School of including compositions pour violoncelle solo she premiered a new appointed principal Cello Competition in Schmidt at the Kronberg 1998 he was appointed Music in Hertfordshire by Thomas Adès, Jörg to her, and Peter Jan cello concerto by the cellist of the London 2006, she received Academy. Santiago professor at the Royal (England) with Alexander Widmann, Matthias Wagemans dedicated Australian composer Philharmonic Orchestra. the Incentive Prize and Cañón Valencia’s biggest Academy of Music and he Boyarsky. From 2014 Pintscher, Fazil Say, Sofa his Worauf hofen for 2 Kate Moore (who is In addition to her many was praised for her competition successes held a teaching position to 2017, she studied Gubaidulina, and Moritz cellos to her. Monique currently stationed in the peformances as a “staggering musicality”. include a 3rd prize in at the New England with Frans Helmerson. Eggert. He performed collaborated with Coosje Netherlands), together soloist, she loves playing Last December, she the prestigious Queen Conservatory in Boston She has been a student György Kurtág’s Concerto Wijzenbeek for a long with the ASKO|Schönberg chamber music and has gave her Artist Diploma Elisabeth Competition for more than 16 years. In at Kronberg Academy for cello and piano on time. Her students in the ensemble. This performed with eminent Recital at the prestigious in in 2017, and 2002, he was appointed with Wolfgang Emanuel the occasion of the young talent department collaboration led to musicians including Queen Elisabeth Music a 1st prize in the 2016 professor at the Stony Schmidt since 2017. As composer’s 85th birthday, were the cellists in the Stories for Ocean Shells, , Yo-Yo Ma, Chapel. She has studied Carlos Prieto International Brook University in New a next-generation artist, gave the premiere of Fancy Fiddlers and its a CD-project with Mischa Maisky, Yuri with Monique Bartels, Cello Competition. As a York. As member of Hayoung Choi is already the Cello Concerto by many chamber music compositions by Moore Bashmet, Gideon Kremer, Michel Strauss and Gary soloist, he has performed the Golub-Kaplan-Carr in great demand with the Georg Friedrich Haas, formations. Monique for cello solo. As the Leiv Ove Andsnes, and Hofman. Lidy has given with the Moscow Soloists piano trio, Colin Carr has leading South Korean and performed the Cello Bartels held positions cellist of the Bang on a . Kristina recitals in New York, under , the performed worldwide orchestras, and she has Concerto Versuchung at the Koninklijk Can All-Stars, Bathgate is a strong advocate France, , and Brussels Philharmonic, and participated in given performances in by Wolfgang Rihm to Conservatorium is the main vessel for for new music. She has Japan. In Madrid she the National Symphony numerous international Europe with Camerata mark the composer’s Den Haag and the numerous cello works given a number of world gave a Beethoven recital Orchestra of Colombia, chamber music festivals. Salzburg and gave a 60th birthday. In 2012, Conservatorium van by the three BoaC- premieres and several with Maria João Pires. As the Hungarian Radio He regularly performs recital at the St Moritz Nicolas Altstaedt Amsterdam for many composers Julia Wolfe, compositions have been a soloist, she has played Symphony Orchestra and with the Guarneri and Festival in 2011. Hayoung succeeded years. Additionally, David Lang, and Michael dedicated to her, among with various orchestras the Orpheus Chamber Emerson String Quartets. Choi plays a Domenico as artistic director of the she was one of the Gordon. Commissioned them cello concertos like the State Hermitage Orchestra. He has been Colin Carr has recorded Montagnana cello made Lockenhaus International frst persons involved by the Cello Biënnale, by Dobrinka Tabakova, Orchestra, the Liège a guest performer at the the complete Bach suites in 1733, loaned to her by Chamber Music Festival, in the establishment Michael Gordon wrote Kristaps Pētersons, Philharmonic Orchestra, Cartagena International as well as the complete John & Arthur Beare. and in 2014 he was of the National Cello a new cello solo piece Pēteris Plakidis, and the Nederlands Blazers Music Festival and the works for cello and appointed Artistic Competition and the Cello dedicated to her: House Artem Vassiliev. In 2008, Ensemble, the Orkest Verbier Festival Academy. piano by Beethoven, Director of the Haydn Biënnale Amsterdam, Music, with a duration of she gave the premiere van de 18e Eeuw and the Schumann, Mendelssohn, Philharmonie, with which and was a member of the 60 minutes. of Dobrinka Tabakova’s Orkest van het Oosten. and Brahms. All of his he made tours both in board each year up to the cello concerto at the Cello Lidy plays an Italian cello recordings were very well China and Japan this sixth edition. Biënnale. that used to belong to received. year. Anner Bijlsma, made by Celeste Farotti, on loan by the Nationaal Muziekinstrumenten Fonds. 120 121 Cellisten

At the age of eight, Chu Belgian cellist Roel Maya Fridman (Moscow, Alban Gerhardt (1969) Matt Haimovitz (Bat Narek Hakhnazaryan Victor Julien-Laferrière Caroline Kang (1980) Yi-Bing (China, 1966) Dieltiens (Antwerp, 1956) 1989) is a versatile cellist has, over the past Yam, 1970) was born in (Yerevan, Armenia, 1988) (Paris, 1990) started studied modern and received his frst cello plays both Baroque and who prefers not to stick decade, joined the Israel and raised in the was born into a family his studies at the baroque cello at the lessons from his father, modern cello. He studied to a particular genre. ranks of the greatest . When of musicians: his father Conservatoire Nationale Eastman School of Music who was a teacher at with masters such as Although she has a cellists of our time. His he was 12 years old he is a violinist and his Supérieur de Musique (Rochester, NY), Ithaca the Conservatory of André Navarra and Pierre background in classical sound is crystal clear, received cello lessons mother a pianist. He frst de Paris and continued College School of Music, Beijing. In 1983, he Fournier. As a soloist and music, she is an equally his interpretations are from Leonard Rose. studied at the Moscow with Heinrich Schif at Cornell University, and the moved to France to study chamber musician, he has accomplished performer praised for their originality. His frst major tour took Conservatory with Alexey the Universität für Musik Koninklijk Conservatorium with Maurice Gendron appeared in major concert of folk, rock, jazz, and His collaborations with place in 1986 with Zubin Seleznyov and at the und darstellende Kunst Den Haag, studying with at the Conservatoire halls all over the world new music. Over the last composers like Unsuk Mehta and the Israel Sayat-Nova School of in Vienna, and at the Steven Doane, Elizabeth National Supérieur de with his own Ensemble seven years, Maya has Chin, Pēteris Vasks, and Philharmonic Orchestra. Music in Yerevan with Universität Mozarteum Simkin, and Jaap ter Musique de Paris. He Explorations. Additionally, been performing regularly Brett Dean show his This was the start of Zareh Sarkisyan. Later, Salzburg with Clemens Linden. She has received graduated summa cum he was the principal cellist in the Netherlands interest in broadening the an impressive career, he was mentored by Hagen. In 2017 he master classes from Yo- laude in 1987. Chu of the Orkest van de 18e and Germany. She cello repertoire. Gerhardt performing concerts Rostropovich, and he won the frst Koningin Yo Ma, Michel Strauss, Yi-Bing collaborated Eeuw. Roel Dieltiens has was awarded the Best is passionate about with the most important studied at the New Elisabethwedstrijd for Wieland Kuijken, Vittorio with the Ensemble released a number of Musician of 2013 Prize sharing his discoveries orchestras of America, England Conservatory cello, and in 2018 he was Ghielmi, and Anner Intercontemporain CD recordings including at De Grote Prijs Van with audiences far Europe and Asia. Around of Music with Lawrence the winner of the Victoire Bijlsma, and has worked and he held principal the complete cello suites Nederland, toured with beyond the traditional 2000, Haimovitz became Lesser. After winning the de la Musique Classique closely with leading early positions in the Basler by J.S. Bach, which Faun as a special, and concert hall: with the more aware of the small gold medal for cello at in the instrumental soloist music scholars such Kammerorchester and earned him a KLARA had many successful aim to pave the way to amount of people his the 2011 International category. Together with as Neal Zaslaw and other orchestras. After award and the Caecilia projects, including classial music for young own age attending his Tchaikovsky Competition pianist Adam Laloum Malcolm Bilson. Caroline 21 years in Europe Chu Prize. Many composers a collaboration with people, his appearances concerts. Attributing his international career and violinist Mi-Sa Yang, strives to utilize authentic Yi-Bing returned to have dedicated works to Tomoko Mukaiyama. Her in Europe and the this to the formality of took a great leap forward he started the trio Les historical techniques as China. He has since then him. He holds teaching latest album features United States have concert halls, he started and he has performed Esprits. He released the basis for her playing been a professor at the positions at the Züricher her own arrangement of involved performances to play non-standard and with a great many major a CD with sonatas approach, including both Conservatory of Beijing. Hochschule der Künste Prokofev’s opera The and workshops in non-classical repertoire orchestras worldwide and together with Laloum, overhand and underhand He established the Chu and the Lemmens Fiery Angel for cello and schools and hospitals at more unusual places has established himself which was awarded bowing, but arrived at Yi-Bing Cello Ensemble, Institute in Louvain. Roel piano, for which she as well as pioneering like cafetarias, night internationally as one of with a Diapason d’Or. early music through an ensemble consisting Dieltiens has served as worked together with sessions in public spaces clubs, and bars. He the fnest cellists of his Victor Julie-Laferrière new music: she was a of 12 cellists with whom a jury member in various pianist Artem Belogurov. and young ofender had a contract with generation. Hakhnazaryan has performed with founding member of the he performs all across music competitions, In 2016, Maya was the institutions. In early Deutsche Grammophon plays a 1707 Joseph Augustin Dumay, Renaud Tarab Cello Ensemble, China, playing Chinese notably the Koningin main performer and co- 2017, Gerhardt founded for 20 years, after which Guarneri cello and F.X. Capuçon, David Grimat, which commissioned over and European chamber Elisabethwestrijd 2017 creator of the musical #Musicians4UnitedEurope he founded his own Tourte and Benoit Rolland and Antoine Tamestit. 20 new works for cello music. Chu Yi-Bing is for cello, and the National theatre show The Master (www. independent record label: bows. At the Sneak Preview octet. Caroline currently the founder and artistic Cello Competition, and Margarita. Maya is musicians4unitedeurope. Oxingale Records. Matt last autumn, Julie- teaches at the Koninklijk director of the cello during the frst edition the musician in residence com), a group of Haimovitz still extends his Laferrière and Laloum Conservatorium Den festival Super Cello, which of the Cello Biënnale with Gaudeamus, and international musicians repertoire with instructions performed Beethoven’s Haag. took place for the frst Amsterdam in 2006 and one of the fnalists of working together to voice for new composers seven variations on Bei time in 2017 in Beijing. at those of 2008 and Dutch Classical Talent their support for a united and unexpected Männern, welche Liebe 2014. 2018/2019. and democratic Europe. arrangements. fühlen.

122 123 Cellisten

Sheku Kanneh-Mason Ivan Karizna (Belarus, One of the most Swedish cellist Jakob Harriet Krijgh was Reinhard Latzko Mischa Maisky Jean-Guihen Queyras (Nottingham, U.K. 1992) started playing promising talents Koranyi (, the winner of the First (Freising, Duitsland) is one (Riga, 1948) began his (Montreal, 1967) has 1999) took frst prize at the cello at age fve, of her generation, 1983) has frmly Prize and the Audience of the most eminent and studies at the Leningrad been involved with the the 2016 BBC Young and had his frst lessons Anastasia Kobekina established himself Prize at the Naional demanded pedagogues in Conservatory and went Cello Biënnale from Musician of the Year with Vladimir Perlin (Jekaterinaburg, Russia, in the classical music Cello Competition in Europe, and gives master on to study with Mstislav the beginning, and competition, and has when he was seven. 1994) made her solo scene as one of Europe’s 2012. That same year classes all over the world. Rostropovich at the has given numerous already made successful Between 2009 and debut with orchestra at most interesting young saw the establishment Latzko studied with Jan . memorable performances debuts with the Tonhalle 2014 he studied with the age of six, and has soloists. Acclaimed of her own festival in Polasek, Martin Ostertag, For a short time, he at the festival since. Orchestra Zürich, Jerôme Pernoo at the since then performed for his commanding Feistritz Harriet & Friends, and Heinrich Schif. He studied intensively in He is a member of Barcelona Symphony and Conservatoire National with many renowned virtuosity and passion for and in June 2017, she is a laureate of various Los Angeles with the various chamber music . Supérieur de Musique orchestras such as diverse and innovative succeeded Janine Jansen national and international legendary Russian cellist ensembles, including the In January 2018, his de Paris. Ivan Karizna , the programmes, he has as the artistic director competitions. Reinhard Gregor Piatigorsky. Arcanto Quartet, a piano debut recording for Decca has won a number of Konzerthaus Orchestra toured extensively of the Internationaal Latzko was the principal During his performing trio with Isabelle Faust Classics, Inspiration, prizes at international Berlin, the Wiener performing as a recitalist Kamermuziek Festival cellist of the SWR- and recording career, and Alexander Melnikov, was released, featuring cello competitions. Symhoniker, and the as well as a soloist Utrecht. In 2015/2016, Symphonieorchester Maisky has worked in and a unique quartet with the Shostakovich Cello Most notably, he was Mariinsky Theater all over the world. Krijgh was named “Rising Freiburg from 1987 to longstanding partnerships zarb-specialists Kevan Concerto No. 1 with awarded 5th prize at Orchestra, under Orchestral highlights Star” by the European 2003, and a chamber with artists such as and Bijan Chemirani, the City of Birmingham the renowned Koningin conductors such as of previous seasons Concert Hall Organisatoin music partner to great pianists , and kemenche player Symphony Orchestra Elisabethwedstrijd for Krzysztov Penderecki, include performances (ECHO). She frequently musicians including , and Sergio Sokratis Sinopoulos. At and Mirga Gražinytė- cello in 2017. He has Heinrich Schif, Vladimir with the Stockholm performs in the world’s Markus Schirmer, Tiempo, violinists Gidon the Biënnale in 2016, Tyla. In May 2018, Sheku given performances with Spivakov, and Valery Royal Philharmonic most important halls, Heinrich Schif, Christian Kremer and Janine he was the soloist in became a household numerous renowned Gergiev. Anastasia, a Orchestra, Hong Kong playing with national and Tetzlaf, Gustav Rivinius, Jansen, and conductors Nomads by Joël Bons, name worlwide after orchestras, including passionate chamber Philharmonic Orchestra, international orchestras. Ernst Kovacic, and , who composed this piece playing at the wedding the Moscow Virtuosi, musician, has given New Zealand Symphony She forms a quartet with Christian Altenburger. , Vladimir specially for Queyras of prince Henry and the Mariinsky Theatre performances with Gidon Orchestra, and Arctic Baiba and Lauma Skride He has given a number Ashkenazy, Daniel and the Atlas Ensemble. Meghan Markle at Symphony Orchestra, Kremer, Yuri Bashmet, Philharmonic Orchestra and Lise Berhtaud, and of performances with Barenboim, and Giuseppe Queyras is a professor at Windsor Castle. Sheku is the Saint Petersburg Giovanni Sollima, Fazil working with conductors collaborates with Quator several diferent European Sinopoli. His daughter Lily the Musikhochschule in currently a student at the Philharmonic Orchestra, Say, Vladimir Spivakov, such as Sakari Oramo, Arod and the Signum orchestras. He has has been accompanying Freiburg, and the artistic , and the Orchestre and Andras Schif. After Jean-Pascal Tortellier, Saxophone Quartet. been successful for him on the piano regularly director of the festival studying with Hannah Philharmonique de completing her studies David Atherton, Jaime She has been teaching the past years as an for the last years. At his Rencontres Musicales de Roberts. He plays an Strasbourg. Ivan Karizna with Frans Helmerson at Martin, and Christian at the Musik und Kunst orchestral coach with last residency with the Haute-Provence. He plays Antonius and Hieronymus has also taken part in the Kronberg Academy, Lindberg. In 2012, Jakob Privatuniversität der Stadt Het Balletorkest and Cello Biënnale (2014), a cello made by Giofredo Amati cello (ca.1610), festivals such as the Yuri Anastasia has been Koranyi performed Tan Wien since 2017. Krijgh Ensemble Resonanz a documentary was Cappa in 1696, provided kindly on loan from a Bashmet International studying with Jens Peter Dun’s Snow in June with plays on a cello built in in Hamburg, among made about him, and he to him by the Mécénat private collection. Music Festival and the Maintz at the Universität dancers of LeineRoebana 1620 by Giovanni Paolo others. From 1988 until appeared onstage with Musical Société Générale. Festival International de der Künste Berlin and at the Cello Biënnale. He Maggini. 2005 he was professor Strauss’ , Colmar. His frst recording is currently a student of has had a lasting collabo- at the Musik-Akademie and at the Cello Coupé was released on the Jérôme Pernoo at the ration since then with Basel and since 2003 he with 2CELLOS. Soupir label in 2016. Ivan Conservatoire National dancer Heather Ware, teaches at the Universität Karizna plays a cello by Supérieur de Musique which resulted in a new für Musik und darstellende Bernardel (Paris, 1867). de Paris. Anastasia plays programme for dancers Kunst Wien. a Giovanni Baptista and cello ensemble Battle Guadagnini cello from Abbey, for which Koranyi 1743. composed the music. 124 125 Cellisten

Giovanni Sollima Kian Soltani (Bregenz, Mela Marie Spaemann Mick Stirling studied Michel Strauss studied Arnau Tomàs (Barcelona) Geneviève Verhage Quirine Viersen (Palermo, 1962) studied Austria 1992) was born studied cello with the cello at the Guildhall in France under Paul is a versatile cellist and received her Bachelor’s received her frst cello cello with Giovanni into a family of Persian Reinhard Latzko at the School of Music with Tortelier and Maurice succesfully combines degree from the Koninklijk lessons from her father Perriera and Antonio musicians. He began Universität für Musik in Leonard Stehn and Gendron, and under a soloistic career with Conservatorium Den cellist Yke Viersen. She Janigro, and composition playing cello aged four Vienna, and with Valter Raphael Wallfsch and in the numerous activities within Haag with Monique went on to study at the with his father and Milko and was only twelve Dešpalj at the Muzička later with Lawrence United States. He has the chamber music Bartels, and earned her Conservatorium van Kelemen. He is a true when he joined Ivan Akademija in Zagreb. She Lesser at the New held a teaching position world. He is a founding Master’s degree at The Amsterdam with Jean virtuoso of the cello. For Monighetti’s class at the was the winner of the England Conservatory in at the Conservatoire member of the renowned Royal College of Music Decroos, and later with Sollima, playing is not Musik-Akademie Basel. Internationaler Johannes Boston. Other important Nationale Supérieure and the in London under Melissa Dmitry Ferschtman. She the end in itself, but a He was chosen as an Brahms Wettbewerb in mentors were David de Parijs since 1987, Ludwig Trio. In addition Phelps. Other musicians fnished her studies at the means of communicating Anne-Sophie Mutter Pörtschach (Austria). Takeno, Hans Keller, in addition to teaching to his numerous recitals who largely infuenced Universität Mozarteum with the world. He is an Foundation scholarship Mela Marie Spaemann Louis Krasner, Eugene at the conservatories and solo performances her playing include Jean- Salzburg under Heinrich extraordinary composer, holder in 2014, and regularly performs as a Lehner, Colin Carr, and of Groningen and The with various orchestras, Guihen Queyras, Bernard Schif. Quirine has won whose music is full of completed his further soloist wiith orchestras Bernard Greenhouse. Hague. Strauss has he is a frequent guest at Greenhouse, Luc-Marie numerous prizes at mediterranean rhythms, studies as a member including the North From 1989 to 1997 collaborated with various prestigious festivals. He Aguera, and the Kronos international competitions. with a melodic vein which of the Young Soloist German Philharmonic Michael was the cellist of important contemporary has recorded a number Quartet. In addition to In 1994, she became is typically Italian. His Programme at Germany’s Orchestra, the Zagreb the Ensemble Modern in composers such as of CDs including Bach’s performances in classical the frst Dutch laureate world covers all eras from Kronberg Academy. Philharmonic Orchestra, Frankfurt, Germany. He Maurice Béjart, Luciano cello suites (2014) and concert halls, Geneviève of the International the ‘Jurassic of the Cello’ He received additional and the Croatian was also a member of the Berio, , sonatas and variations by regularly appears in music Tchaikovsky Competition. (as he calls the Baroque important musical training Chamber Orchestra, Raphael Ensemble and , and Beethoven (2016), both theatre performances. She formed a duo in period) to Metal. He at the Internationale and is in demand at the Brindisi Quartet. In . of which were extremely She has made tours 1996 with pianist Silke writes mainly for the cello, Musikakademie in international music 2004 he became principle A number of them have successfully received. His with Orkater/Via Berlin, Avenhaus, and recorded creating new repertoire for Liechtenstein. Kian festivals. In addition to her cellist of the Radio dedicated works to him. unique interpretations of Oorkaan, Opera Zuid/ fve CDs with romantic his instrument. His diverse was the winner of classical performances, Philharmonisch Orkest. As a chamber musician, the Bach suites earned ICK, and frequently and contemporary audience ranges from several international she also performs as He is also a member of Strauss has worked him a performance in works together with Leine music. These and her classical music lovers competitions: the Karl a singer-, Nieuw Amsterdams Peil with pianists such as Yo-Yo Ma’s Masterclass Roebana, Circus Treurdier, recordings of solo suites to young metalheads. Davidof Competition singing her own sensitive, and The Quimias String Jean-Claude Pennetier, on Bach suites in the and Nynke Laverman & by Bach and Britten Giovanni Sollima in Latvia, the Antonio often narrative songs, Trio. He recorded the , Concertgebouw as early Sytze Pruiksma. She is were received with great conquers all. He plays Janigro Competiton in accompanied by her Hindemith cello concerto and Henriette Puig-Roget, as 1992. In addition to a member of the Cello enthusiasm. She has a cello by Francesco Croatia, and the Paolo own ‘one-woman with Marcus Stenz and violinists including Gérard his concert activities, Octet Amsterdam and given solo performances Ruggieri (1679, Cremona). Competiton in Finland. In orchestra’: her cello and a the Ensemble Modern Jarry, Tibor Varga, and Arnau Tomàs is a regularly plays with the with major orchestras During the 2018 Biënnale, January 2018, his debut loopstation. which won the German Sandor Vegh, and viola visiting professor at the Radio Philharmonisch in the Netherlands and Giovanni Sollima is set to album was released on Critic’s Prize. Mick Stirling players Gérard Caussé, Hochschule für Musik in Orkest, Pynarello, the abroad, including the receive the prestiguous Deutsche Grammophon is currently a professor at , and Bruno Cologne, and he gives Paradiso Orchestra, Koninklijk Concertgebouw Anner Bijlsma Award. together with pianist the Conservatorium van Pasquier, as well as with master classes across s.t.a.r.g.a.z.e., and Orkest and the Wiener Aaron Pilsan. Kian Amsterdam. his previous teacher Aldo Europe and the United Maarten Ornstein. Philharmoniker. Quirine Soltani plays on the 1694 Parisot. Michel Strauss is States. Geneviève plays on plays a cello by Joseph “London” Stradivarius the founder and artistic a Hippolyte Silvestre Guarnerius Fillius Andrea cello, on generous loan director of the chamber cello (1865), on loan built in 1715, provided from the J & A Beare music festival Musique from the Nationaal to her by the Nationaal International Violin de Chambre à Giverny in Muziekinstrumenten Muziekinstrumenten Society. France. Fonds. Fonds.

126 127 Andere musici

Alexander Warenberg Sietse-Jan Weijenberg Jordi Savall (Igualada, Mirko Arnone (Palermo, Jelger Blanken studied Julien Brocal (Arles, Pedro Estevan (Sax, Jean-Claude Vanden was the winner of studied at the , 1941) is one Italy) studied classical piano at the Conserva- France, 1987) began Alicante, 1951) studied Eynden (Brussels, 1947) the First Prize and conservatories in of the most versatile guitar and music theory torium van Amsterdam learning the piano at the percussion at the Real started his studies at the the Audience Prize Groningen and Paris musical personalities of at the Conservatorio with Mila Balawskaja age of 5. He studied Conservatorio Superior Koninklijk Conservatorium at the National Cello with Jan-Ype Nota and his time. His activities as a di Musica Vincenzo and Håkon Austbø. In with Erik Berchot and de Música de Madrid, Brussels at age 12, and Competition in 2016. Michel Strauss, and gamba player, conductor, Bellini (Palermo) prior to September 2001, he Rena Shereshevskaya and went on to study went on to study at the He has been playing received master classes teacher, researcher, and completing his studies was the only Dutch pia- at the École Normale de contemporary percussion Queen Elisabeth Music the cello from the from eminent musicians creator of new musical in lute and related early nist to be selected as a Musique de Paris Alfred with Sylvio Gualda and Chapel with Eduardo Del age of fve. From age including János Starker and cultural projects plucked instruments lied accompanist in the Cortot, and in 2013 African percussion with Pueyo. At age 16, he eight, he received and . In have made him a leading (Renaissance & baroque master classes of Diet- began working with Maria the Senegalese teacher became the youngest lessons from Monique 2009, he was the frst fgure in the reappraisal luth, theorbo, baroque rich Fischer-Dieskau. He João Pires at the Cité de Doudou Ndiaye Rose laureate of the Koningin Bartels. Alexander has Dutch cellist to reach the of historical music. guitar) in Germany graduated in 2002, and la Musique in Paris. She in Aix-en-Provence. Elisabethwedstrijd. been studying with fnals of the Rostropovich Together with Montserrat at the Staatliche won the Concertgebouw’s invited him to continue his Additionally, he studied Vanden Eynden Frans Helmerson at Competition. He has Figueras, he founded the Musikhochschule für Vriendenkrans Concours studies at the Chapelle tambourine technique has performed with the Barenboim-Said been playing in various ensembles Hespèrion XXI Musik Trossingen, that same year. Jelger Musicale Reine Elisabeth with Glen Velez. Estevan prestigious symphony Akademie in Berlin orchestras since 2010, (1974), La Capella Reial under the tutelage of Blanken is acclaimed in and to be has been a passionate and chamber orchestras, since October 2016. before he was ofered de Catalunya (1987), Rolf Lislevand. Mirko both as an accompanist, a founding member of member of various jazz working with acclaimed Alexander has performed a position with the and Le Concert des Arnone currently holds a performing with numerous the Partitura Project. groups, performing at conductors such as as a soloist with the Nederlands Kamerorkest Nations (1989). Savall has teaching position at the international soloists, and Maria and Julien have numerous occasions. Rudolf Barshaï and Yuri Zagreb Soloists at the in 2013. Sietse-Jan recorded over 230 discs, Musik Akademie Basel. as a solo pianist. He has performed together all Together with Maria Temirkanov. He performs Antonio Janigro Festival Weijenberg has given receiving many awards He frequently works given countless concerts over the world, including Villa and Suso Saiz, he in chamber settings in Croatia, and as a frequent performances and distinctions amongst with various ensembles in the Nethelands and has at the Chopin Festival founded the ensembles with top Belgian and chamber musician, as a soloist with which a Grammy including Capriccio made international tours (Warsaw), Severance Hall Orquesta de las nubes, international players. He Alexander has performed Amsterdam Sinfonietta, Award. His concert Barockorchester, Bach through diferent coun- (Cleveland) and other Ranfonia, and Pan ku. attended major festivals with Menahem Pressler, the Nederlands programmes have made Consort Wien, Zürcher tries including France, places. Additionally, they Pedro Estevan has been such as Umeå (Sweden), Paolo Giacometti, Studenten Orkest, and music an instrument of Kammerorchester, Estonia, and Portugal. He have given numerous a member of Hespèrion Prades (France), and and Lucas Jussen. the , to mediation to achieve Orchestre de Chambre de has been part of music workshops together and XXI and Le Concert des Stavelot (Belgium), of Alexander won the frst name just a few. Recently understanding and Genève, Holland Baroque theatre productions such launched educational Nations since 1968. He which he became artistic prize at the Britten cello he gave extremely peace between diferent Society, Cappella as the children’s show and social programs for successfully combines advisor for in 1987. He is competition and the successful performances and sometimes warring Mediterranea, Ensemble Wild (2005). He is the children. Julien is now a his performance career frequently invited as jury national competition of C.Ph.E Bach’s Cello peoples and cultures. Severijn, Philarmonisches regular pianist for Holland resident in Belgais, at the with a teaching career at member for the Koningin of the Stichting Jong Concerto no. 3 with In 2008 Jordi Savall Orchester Heidelberg, Music Sessions and the Center for Arts. His frst the Escola Superior de Elisabethwedstrijd. He Muziektalent Nederland. his own Nederlands was named European Tonhalle Orchester Zürich, Stichting Internationale solo recording, featuring Musica de Catalunia. currently holds teaching He has also won a frst Kamerorkest. Sietse- Union Ambassador for NDR Sinfonieorchester, Masterclass Apeldoorn. works by Chopin, was positions at the Koninklijk prize at the international Jan is one of the six intercultural dialogue and, Münchener Blanken is holding a released in January 2017 Conservatorium Brussels cello competition cellists to perform one of together with Montserrat Kammerorchester, and Il teaching position at the by Rubicon Classics. and the Muziekkapel ‘Antonio Janigro’ Bach’s solo cello suites Figueras, was named Gusto Barocco. Arnone Koninklijk Conservatorium Koningin Elisabeth, and in Croatia. He has at Bach&Breakfast 2018, “Artist for Peace” under performs both as a soloist Den Haag since 2003. is the artistic director of perfor-med at various and he will show himself the UNESCO “Good and as a continuo player. the Eduardo del Pueyo festivals including Janine from an entirely diferent Will Ambassadors” Musical Centre. Jansen’s Internationaal side during CELLOFEST, programme. Kamermuziek Festival when he enters the Utrecht and the Grach- stage in Bimhuis with tenfestival in Amsterdam. Weijenberg & Kliphuis. 128 129 Andere musici

Pierre Hantaï (1964) Yoram Ish-Hurwitz (Am- Jovica Ivanovic David Kadouch (Nice, Pianist Isata Kanneh- Dutch pianist Daniël Daniël Kramer started Frank van de Laar became passionately sterdam, 1968) fell in love (Zvornik, Bosnia and 1985) started his piano Mason is the eldest of a Kool (1986) started piano lessons with Ton (1965) started piano attached to Bach’s with the piano at age six, Herzegovina, 1987) studies at the Conser- family of seven brothers playing the piano when Hartsuiker and graduated lessons at age 10. He music around age ten. and went on to study at studied accordion at the vatoire à Rayonnement and sisters who play a he was fve years old, cum laude from the continued his studies at Infuenced by Gustav the Conservatorium van Hochschule für Musik, Régional de Nice with broad range of classical and won a regional Conservatorium van the Conservatorium van Leonhardt, he began Amsterdam with Danièle Theater und Medien Odile Poisson. At age 13, musical instruments. competition after four Amsterdam with Håkon Amsterdam with Jan Wijn. studying the harpsichord Dechenne and Jan Wijn. in Hannover. He now he performed at the Met- She is currently a years of playing. In 1997, Austbø. He also studied He graduated with the by himself, then guided He became the frst Dutch performs successfully as ropolitan Hall in New York student at The Royal he was admitted to the with Rudolf Jansen, highest honours in 1989, by the American teacher pianist to study at the Juil- a soloist and participates at the personal invitation Academy of Music, Young Talent department Willem Brons, Murray and went on to study Arthur Haas. He gave liard School in New York, in chamber music of . At age studying piano with of the Conservatorium Perahia, and Claude with Karl-Heinz Kämmer- his frst concerts at an for two years with György concerts all over Europe. 14, he went on to the Carole Presland, where van Amsterdam, where Helfer. As a chamber ling and Naum Grubert. early age, alone as well Sándor. He was then Jovica’s repertoire Conservatoire National she has been awarded he studied with Marjes musician, Daniël works In 1987, he won third as with his brothers accepted into the class includes classical Supérieur de Musique the prestigious Sir Elton Benoist. He fnished with musicians like Janine prize at the international Marc (traverso) and of Karl-Heinz Kämmerling genres like Baroque, de Paris to study with John Scholarship. She his Bachelor’s and Jansen, Nobuko Imai, Brahms Competition Jérôme (viola da gamba). in Hannover. Yoram has original compositions for Jacques Roevier. After has even performed with Master’s degree at the Liza Ferschtman, and in Hamburg, and was He went on to study been the artistic director accordion and new music earning the Prix d’Hon- Sir Elton Jonn in Los Conservatorium van Charles Neidich. He has awarded frst prize at the in Amsterdam with of the Oranjewoud Fes- as well as tango, jazz and neur, he moved to Madrid Angeles in 2013. Isata Amsterdam with Mila performed as a soloist Postbank-Sweelinck Con- Gustav Leonhardt. He tival since 2010. He has traditional Balkan music. to attend the Escuela begins her postgraduate Baslawskaja. Additionally, with the Nederlands cours in 1988, the same collaborated with many performed at the Con- In addition Jovica Ivanovic Superior de Música Reina studies with a scholarship Daniël participated at Kamerorkest, the Radio year in which he made his musicians, ensembles, certgebouw many times, is a highly gifted musical Sofía under the tutelage to The Royal Academy in various courses in The Kamer Filharmonie, debut in the Grote Zaal of and conductors, including and all over Europe and improviser. of Dmitri Bashkirov, September 2018. Isata Netherlands and abroad. and the Nationaal the Concertgebouw. He Philippe Herreweghe, the United States. Yoram Marthe Gylyas, and Ralph has performed around He has won several Jeugdorkest. He has went on to perform reg- the Kuijken brothers, is regularly involved in Gothoni. In 2010, he was the UK and abroad, with national and international permiered various ularly in the Netherlands, François Fernandez, Marc unique projects such as named “Young Talent concerto appearances, in prizes and has been contemporary pieces, all over Europe, and in the Minkowski, and Philippe the Iberia project (a multi- Revelation” (Victoires de chamber ensembles and praised for his refned by composers like United States and Asia. Pierlot. Nowadays, he disciplinary performance la Musique), and “Young in solo recitals, including and clear style of playing. George Benjamin, Louis He was received suc- performs as a soloist with flm), and Edwin de Artist of the Year” (Clas- at Wigmore Hall, The Daniël is a respected Andriessen, Toshio cessfully everywhere and around the world and Vries’ De Pianist. He is sical Music Awards) in Royal Festival Hall, St and frequently asked Hosokawa, and Sofa earned many prizes and often appears onstage also an active chamber 2011. He won numerous Martin-in-the-Fields, The soloist and chamber Goebaidoelina. Daniël distinctions. Frank van with Jordi Savall. He musician, performing with prizes and distinctions, Elgar Room at The Royal musician, and he is part Kramer has won several de Laar holds teaching enjoys meeting with his the Fresco Trio and his and currently performs all Albert Hall, Nottingham’s of several ensembles. prizes: He was awarded positions at the Conser- brothers and friends niece, Noa Wildschut. over the world with major Royal Concert Hall, and He has formed duos frst prize at the national vatories in Amsterdam including , international orchestras. many more. with soprano Nora Fisher fnals of the Prinses and Zwolle. Sébastien Marq, Skip He also frequently gives and with cellist Ketevan Christina Concours Sempé, Amandine Beyer, recitals and attends fes- Roinishvili, both of whom in 1994, and won the Olivier Fortin, Christophe tivals. he performs with regularly. Concorso Seghizzi (2008, Coin and Jean-Guihen together with soprano Queyras to play chamber Sabine Wüthrich) and music. the Concours Olivier Messiaen in Paris (2007).

130 131 Andere musici

Andrew Lawrence- Rolf Lislevand (Oslo, Fay Lovsky (Leiden, Romanian master Lily Maisky (Parijs, 1987) Claron McFadden(1961) Kennedy Moretti was Philippe Pierlot (Liège, King (Guernsey, England, 1961) studied the 1955) is a singer, cimbalist Vasile Luca has started playing the piano studied voice at the born in São Paulo, where 1958) was a self-taught 1959) is a conductor of from 1980 composer, and multi- made a name for himself aged 4 and studied with Eastman School of Music he studied piano at the guitar and lute player mainly baroque operas, to 1984 at the Norwegian instrumentalist: she plays in the world of gypsy Hagit Kerbel, Ilana Davids, in Rochester, New York. University of São Paulo. before dedicating himself in addition to being an State Academy of Music. guitar, violin, musical saw, music. His father taught and Alan Weiss. Between She has become widely He went on to study at to the viola da gamba early harp virtuoso and In 1984 he entered theremin, and ukelele. him to play the cimbalom 2001 and 2005, she was respected as a singer of the Franz Liszt Academy under the tutelage of one of the world’s leading the Schola Cantorum After studying at the from a young age, and he a student of the Purcell baroque and traditional of Music (Budapest) and Wieland Kuijken. Philippe performers of Early Music. Basiliensis in Switzerland Rietveld Academie, she later studied with various School for Young Musi- repertoire as well as the Universität für Musik Pierlot directs the Ricercar He is the most recorded where he studied under recorded solo albums acclaimed cimbalists cians, a boarding school contemporary music. und darstellende Kunst Consort ensemble, which harpist of all time. He the tutelage of Hopkinson and played in various around Romania. He near London for children She is a demanded Wien. Moretti moved to mainly interprets works of has directed operas and Smith and Eugène bands: The Magnifcent made many tours, both aged 9-18. At age 15, opera singer, and has Spain in the 80s. He was the 17th-century, revealing chamber music at La Dombois. He was then 7, The Veggies, and La as a soloist and as an she performed with her sung the title role in Lulu a professor of chamber previously unknown Scala in Milan, Sydney asked by Jordi Savall Bande Dessinée. She won accompanist for pan father for the frst time to at the Glyndebourne music at the Conserva- compositions to the Opera House, Casals Hall to accompany him with a Golden Harp award, fute players such as celebrate her mother’s Opera House, the role torio Suprior de Música, public. He has edited in Tokyo and many other groups such as Hespèrion toured through France Gheorghe Zamfr, Damian birthday, and in 2005 they of Zerbinetta in Ariadne Salamanca until 2006, and revived a number venues. His accolades XX, La Capella Reial de and the United States, Luca, Nicolae Pirvu, and gave their frst profession- auf Naxos at the Dutch and currently teaches of operas, including include a UK Gramophone Catalunya, and Concert and performed at the Damian Draghize. His al performance together in National Opera, and at the Escola Superior Monteverdi’s Il Ritorno Award, a Dutch Edison des Nations. Through North Sea Jazz Festival, collaboration with Pirvu Emola and Ravenna. She many roles from baroque de Música de Catalunya d’Ulisse and Sémélé Award, the US Noah Savall, he acquired De Parade, and the Film and Draghize brought him has performed all over operas. She collaborated in Barcelona and the by Marin Marais, and Greenberg Award, a frst-hand knowledge of Festival. She has been a to the Netherlands, where Europe and the Far East. in various multidisciplinary Conservatorio Superior produced Bach’s St Mark Grammy, and Australia’s 17th-century French viola musical saw and ukelele he developed an intensive Lily received masterclass- projects such as in Pité! de Música de Aragón in Passion. His repertoire Helpmann Award with da gamba music, just player in the French jazz/ musical friendship with es from great pianists by Alain Platel, the David Zaragoza. Moretti has also includes numerous Jordi Savall, and as a as folk ensemble Les Primitifs contrabass player Gabriel including Martha Argerich, Kweksilber Big Band, accompanied numerous contemporary pieces, director he received the introduced him to 16th- du Futur since 1998, and Barbalau. Together Dmitri Bashkirov, Joseph and with Muziektheater singers and chamber en- several of which were Golden , Russia’s and 17th-century Spanish is a member of the EKO- with Pirvu as well as Kalichstein, and Marielle Transparant. In 2006, sembles, and since 2002 written especially for highest music-theatre vocal music. With his trio and Ocobar. Draghize, he made several Labeque. She is a mem- she was awarded he has been performing him. In addition to the award. He teaches at Ensemble Kapsberger Lovsky writes music for recordings and performed ber of the Maisky family the Amsterdamprijs as a solo pianist, with viola da gamba, Pierlot London’s Guildhall School, he presents a new radio and television, as with the Mirando’s, the trio with her father Mischa voor de Kunst. At the performances in various is an accomplished and is a Baroque Opera artistic conception of well as for theatre and Serbans, and Theresa and her brother Sascha last Biënnale, Claron Spanish cities and in baryton player, a relatively Director for the Moscow the instumental music flm, especially children’s Steinmetz. Vasile is Maisky. McFadden shone Portugal, France, Austria, unknown instrument for State Theatre Natalya of the 17th-century and programmes: KleineSofe currently performing together with cellist Germany, England, the which Haydn wrote more Sats. Lawrence-King a revisionist approach & lange Wapper, Hondje, as the cimbalist of the Jörg Brinkmann and United States, and Brazil. than 150 trios, among investigates and teaches to current performing Zusje Harmonika, Koninklijk Zigeunerorkest the Artvark Saxophone other pieces. Philippe early harps & continuo, traditions in early music. Tante Patent en De Roma Mirando. Quartet in a gripping Pierlot was a professor at -drama Lislevand is a professor at radiomannetjes. During nighttime music theatre the Hochschule für Musik, & baroque opera, and the Staatliche Hochschule the Cello Biënnale she performance, POE: The Trossingen in Germany, baroque gesture and fow. für Musik in Trossingen is performing in Micha Tell-Tale Heart. and currently teaches (Germany). Wertheim’s family show at the Brussels and The Spruce and Ebony. Hague Conservatories.

132 133 Andere musici

Nicolas van Poucke Dimitri Psonis (Athens, Christopher O’Riley Thomas Sauer is a Japanese-born pianist Tineke Steenbrink Sven Arne Tepl (Celle, Willem Vermandere studied piano at the Greece, 1961) started (, 1956) started professor at the Vassar Naoko Sonoda studied (1977) studied Germany, 1966) studied (Lauwe, Belgium, Conservatorium van playing classical guitar playing the piano at College and at the piano under Seiko Ezawa and organ with Bernhard viola and chamber music 1940) is a Belgian Amsterdam and received aged 11, and several age 4. He became faculty of the Mannes Mikhail Voskresensky at Winsemius and Willem at the Musikhochschule entertainer, writer, poet, masterclasses from more instruments soon interested in pop music College, both in New the Toho Gakuen School Tanke at the Hogeschool Detmold and Köln. In sculptor, philosopher, great pianists including followed. At the age of and started his own York. He is a demanded of Music before comple- voor de Kunsten Utrecht, addition to his positions singer, guitarist, bass Martha Argerich, Murray 18, he began learning band around age 12. soloist and chamber ting her postgraduate and harpsichord under as guest principal in clarinettist, and painter. Perahia, Emanuel Ax, the santoor with Tasos During high school, his musician, and performs at the Universität der Ketil Haugsand at the acclaimed orchestras He grew up in a musical and Andras Schif. He Diakoyorgis, and focus shifted to jazz- all over the world, only Künste in Berlin under Hochschule für Musik in the United States, environment between his has been active as a studied composition rock fusions. While recently having played Rainer Becker. She Köln. She graduated in Germany, and the mother’s kitchen and his soloist and chamber with composer and studying at the New at and studied chamber music 2004, with the highest Netherlands, Sven clarinettist/wheelwright musician from a young conductor Yannis England Conservatory, the Concertgebouw in with Tabea Zimmermann distinction. Tineke and was a member of the father’s workshop, and age, and performed Ioanidis. He later he decided overnight Amsterdam. He has and Natalia Gutman. her twin sister Judith Utrecht String Quartet, joined the town fanfare in several European moved to Madrid to switch to classical performed at prestigious After graduating, Naoko Steenbrink (violin) form and principal viola of Saint Cecilia at a young countries and the United and Amsterdam to music. O’Riley presents festivals in and outside was engaged by the Ensemble Séverin Amsterdam Sinfonietta. age. In the sixties, States. He has formed continue his studies the popular radio of the United States. He Universität der Künste in together. Tineke is the He has held teaching Vermandere mainly a duo with his sister, in – among other programme From the recorded the complete Berlin, the Hochschule co-founder of Holland positions at the grew well-known for his cellist Ella van Poucke, disciplines – percussion, Top, in which young works for cello and piano für Musik Hanns-Eisler Baroque Society, and Folkwang Hochschule in Flemish cabaret songs and has collaborated marimba, vibraphone, musicians perform and by Mendelssohn and Berlin and the Franz has been a part of Essen and the Guildhall about day-to-day things, with musicians such as and music teaching. are interviewed, and Beethoven with cellist Liszt Musikhochschule Cappella Amsterdam, School of Music in Westhoek, and the Colin Carr, Christiaan He has been involved in which he combines Colin Carr, and is the in Weimar as a collabo- Concerto Köln, Real London, and has been terrors of the Great War. Bor, and Gil Sharon. in the soundtracks for classical music with his founder of the Mannes rative pianist. Naoko Filharmonía de Galicia, a professor of viola His songs occasionally He has performed numerous flms, including own arrangements of Beethoven Institution. won prizes at numerous and The King’s Consort, and chamber music contain criticism toward at various festivals The Kite Runner in 2007, songs by Radiohead. His most important pro- international piano among others. She at the Conservatorium society and the church. including the Verbier for which the score This way, he is able to fessors were Jorge Bo- and chamber music has been teaching van Amsterdam. His performances are a Festival, Internationaal was nominated for an introduce Radiohead’s let, Edward Aldwell, and competitions, including harpsichord, basso Sven has worked as mix of cheerful, solemn, Kamermuziekfestival Oscar. As one of the music to a classical Carl Schachter. those in Argento and continuo, and chamber the artistic leader for sad, and upbeat songs Utrecht, and Krzyzowa best santoor players in audience and classical Trieste (Italy) and Łódź music at the Artez Holland Symfonia, and music, and are all Music. As a soloist, he the world, he regularly music to a younger (). Solo and Conservatorium in artistic manager characterized by his has given performances works with Jordi Savall audience. His repertoire chamber music concert Zwolle since 2006. She for the Nederlands typical cheeky narrative with various Dutch and Hespèrion XXI, as ranges from English invitations have taken frequently performs as Philharmonisch/ elements, so-called orchestras of concertos well as with other groups Renaissance and French her all across Europe a solo organist, and Nederlands ‘vertellementen’. by Bach, Poulenc en dedicated to early music. Baroque to tango and and Asia. Naoko has was named ‘organiste Kamerorkest, and Rachmaninov, among contemporary repertoire. received prizes as best titulaire’ at the Sint- as vice principal at others. accompanist at the Martinuskerk in Cuijk, the Conservatorium Last season, Nicolas International Music where she plays the van Amsterdam. In released his second Competition in famous Severijn organ 2016, he was named album, featuring Chopin Markneukirchen built in 1650. In 2014, artistic director for the sonatas and a Chopin (2013), the Lutosławski she made her debut as Residentie Orkest. recital in the Koninklijk International Cello musical director of Vokal During this Biënnale he Concertgebouw. Competition in Warsaw Consort Berlin. acts, for the 1st time, (2015) and the XV as the chairman of the International Tchaikovsky jury of the National Cello Competition (2015). Competition.

134 135 Orkesten en Ensembles

The string ensemble The Antwerp The Atlas Ensemble Formed in 1992, the The Cello Company Cello Octet Cellokwartet Amsterdam Symphony Orchestra unites top musicians Bang on a Can All- was born by initiative Amsterdam was Ferschtman. At the Sinfonietta was is Flanders’ symphony from the Far East, Stars are recognized of Master students founded in 1989, under personal invitation of established in 1988 by orchestra, based in the Central Asia, the Middle worldwide for their and new graduates of the name Conjunto Natalia Gutman, Dmitry a number of passionate newly built Koningin East, and Europe. ultra-dynamic live the Conservatorium Ibérico. After the Ferschtman travelled to young musicians, Elisabethzaal in Antwerp. The ensemble ofers performances and van Amsterdam. The artistic director Elias her festival in the south under the leadership of Led by chief conductor a unique combination recordings of today’s Cello Company is Arizcuren parted with the of Germany with a few conductor Lev Markiz. Elim Chan (from the of western and non- most innovative music. quickly bulking out its ensemble, it continued students ten years ago, With Candida Thompson 2019-2020 season western compositions, Freely crossing the repertoire with original under the name Cello and performed there – the artistic director onwards) and visiting which are often boundaries between compositions as well Octet Amsterdam. The with them. Thus was Micha Wertheim is since 2003 - as a leader, conductor Philippe composed specially classical, jazz, rock, as arrangements for Octet has performed in born the Cellokwartet a comedian, satirist, the orchestra has made Herreweghe, the for the ensemble. The world and experimental two, three, and four prestigious hall within Ferschtman, which columnist, and tours over the past years orchestra aims to touch Atlas Ensemble was music, this six-member cellos. The Cello Europe as well as in the emanates the unique programme creator. across Europe, China, the heart of as many founded by composer amplifed ensemble Company performs for United States, Canada, cello sound through He started as a stand- South America, and people as possible, Joël Bons. The ensemble has consistently forged various occasions at Central and South classical and romantic up comedian at the Australia. In addition inspiring them with is characterized by a distinct category- the Cello Biënnale, and America, and the Middle repertoire, as well as collective Comedytrain, to the broad repertoire concert experiences the remarkable level defying identity, taking gives (house) concerts East. In addition to their inspiring composers and soon started making for string orchestra, the of the highest possible of playing from each music into uncharted for contributors and large collection of new to write for the ensem- his own programmes: orchestra frequently level. As a result of player, coloured by their territories. Together, the the Casals Circle. compositions, the Cello ble. After moving Micha Wertheim voor performs unknown concert tours in major individual musical roots All-Stars have worked Emma Kroon is a Octet often surprises to the Netherlands, beginners, Micha music and regularly concert halls, the that they carry with in unprecedented close Master student at the audiences with dozens Dmitry Ferschtman Wertheim voor gevorder- commissions works. For Antwerp Symphony them so closely. The collaboration with some Conservatorium van of original arrangements. (after whom the quartet den, Micha Wertheim their performance at the Orchestra has earned a combination of these of the most important Amsterdam and the The combination of new was named) was the in het buitenland, etc. Biënnale, the orchestra respected position within diferent backgrounds and inspiring musicians cellist of the Dostojevski music and arrangements principal cellist of the In 2015 and 2016, he will be lead by Israeli- Flanders. The orchestra and traditions and the of our time. The group’s kwartet. Maximiliano has made the Cello Dutch Radio orchestras created two shows in Canadian violinist Daniel is in demand abroad, open minds of the celebrated projects Segura Sánchez Octet an inspiration for for many years, and which he himself was Bard, previously the performing frequently in ensemble’s players give include their landmark received his Bachelor cellists worldwide. The gave numerous perfor- absent: Ergens anders principal viola player with important venues and the group a remarkable recordings of Brian Eno’s and Master degrees in Octet has given over 70 mances as a soloist. He and Iemand anders. Amsterdam Sinfonietta. touring through Europe power. The Atlas ambient classic Music for Amsterdam, and is a world premieres, most of has been a professor Wertheim has created He has recently been and Asia. In addition to Ensemble premiered at Airports and Terry Riley’s member and the artistic which were dedicated to at the Conservatorium radio documentaries, appointed concertmaster their regular concerts, the 2016 Biënnale Joël In C, as well as live director of Capella the ensemble. They have van Amsterdam for wrote for VPRO’s De in Basel. After his frst the Antwerp Symphony Bons’ Nomads in which performances with Philip Estense, an initiative that worked with Xenakis, almost forty years. Avonden, organises violin lessons in Haifa, Orchestra has developed cellist Jean-Guihen Glass, Meredith Monk, was partly sponsored by Gubaidulina, Pärt, Larissa Groeneveld the programme Echt he moved to Toronto a wide range of Queyras blends his cello , Iva Bittova, the Anner Bijlsma Award. Boulez, Loevendie, Riley, is one of the most Gebeurd with Paulien to study with David educative and social tone with the music of Thurston Moore, Owen Maya Fridman was Kagel, Glass, and many eminent Dutch cellists Cornelisse, and Zafer, Lorand Fenyves, projects, which helps the 18 musicians of the Pallett and others. The the main fgure in The others. of her generation, and writes columns for and Peter Oundjian, children, young adults, multi-ethnical ensemble. All-Stars were awarded Master and Margarita a member of diferent Vrij Nederland and De and later studied with and people from diferent Because of the theme Musical America’s during the Biënnale ensembles including Correspondent, among David Takeno at the backgrounds fnd their of this year’s Biënnale Ensemble of the Year in 2016. She is the the Osiris Trio. Ketevan others. Guildhall School of way within the sounds of and the huge success in and have been heralded ‘musician in residence’ Roinishvili is a laureate He also wrote two Music in London. Bard a symphony orchestra. 2016, it was decided to as “the country’s most of Gaudeamus 2018 and of various international children’s books: Hoe is a founding member give Nomads yet another important vehicle for 2019, and a candidate competitions and was Lima een lekke band of the prize winning Trio performance contemporary music” for the Dutch Classical a fnalist in the last kreeg (How Lima’s Tire Mondrian, and a member by the San Francisco Talent award. Dutch Classical Talent Tore) and De Hik (The of the Israeli Chamber Chronicle. award. Willem Stam, Hiccups). The second Project ensemble. a member of the Ysaÿe book was illustrated Strijktrio, performs all by Cristina Garcia over the world with Martin, with whom he recital programmes and collaborated to write a soloistic appearances. book specially for the He was recently appoin- Cello Biënnale, De familie ted artistic director of Decibel (The Decibel the ‘Old Ox festival Family). Mariestad’ in Sweden.

136 137 Orkesten en Ensembles

Ensemble Shiraz was Hesperion XXI is the Holland Baroque The Nederlands In recent years, the Oorkaan works with with the Ebonit The Residentie Orkest established in 1984 leading early music unites Telemann with Philharmonisch Nieuwe Philharmonie top musicians to create Saxofoonkwartet. is characterised by top by classically trained organization of the the Chinese sound Orkest, partner of Utrecht led by concerts for a younger Josephine van quality combined with bassoonist Khosro Iberian peninsula. It is a of Wu Wei, connects the Cello Biënnale Johannes Leertouwer audience. They want Rheenen studied at an adventurous profle Soltani, with the aim small mixed ensemble Reinbert de Leeuw to Amsterdam, is the has drawn attention to to help both small ears the Theaterschool and a dynamic eager- of keeping Persian of about 12 players Bach, and shows us regular orchestra for itself by presenting a and big ears, as many Amsterdam and as a ness. The orchestra music alive. After and singers and varies how percussionists are in productions by De number of extremely well as possible, to discover newly graduated dancer aims to bring beautiful playing in the Teheran somewhat depending charge of the heartbeat Nederlandse Opera received productions. the endless world of joined the youth dance and unique music to as Symphony Orchestra on the repertory chosen. of baroque music. The in Het Muziektheater, The orchestra gave a music. They do this in company De Dansers. many people as possi- for a number of years, The founders of the programmes presented Amsterdam. The historically informed, innovating, theatrical After spending 5 years ble, inspiring and sur- Soltani moved to Vienna group (which was called by Holland Baroque have orchestra, in addition, authentic performance ways, focussing on onstage with various prising them, and bring- in 1974 to study with Hespèrion XX when one thing in common: frequently performs of Beethoven and classical music from groups including De ing joy to their lives. The Karl Oelberger. He it was formed back they work with soloists in the Koninklijk Brahms, praised for all over the world, Dansers, Vloeistof, and Residentie Orkest is one soon started giving in 1974) were bowed and ensembles with Concertgebouw in its great vitality and written in all eras. Cello Breekgoed, she was of the most prestigious performances with string instrument player whom they can do Amsterdam. The expressivity. The Octet Amsterdam named artistic director Dutch orchestras, based early music ensembles Jordi Savall, vocalist just the thing they are NedPho is a highly Volkskrant wrote: has collaborated with of De Dansers together in The Hague. They are such as Les Menestrels Montserrat Figueras, so widely praised for demanded orchestra all “Leertouwer renders a Oorkaan to create the with Guy Corneille. in demand with import- and Musica Antiqua plucked string instrument – showing the public across the Netherlands powerful Brahms with an succesful production Pim Veulings earned ant venues all across the Wien. He set himself to player , that old traditions can and abroad. They bring abundance of contrast, Cellostorm, now his Bachelor in dance Netherlands and abroad. learning the recorder in and fautist/percussionist tell novel stories. The classical music to life and has a national performed across the from the Amsterdamse Starting in the 2018- addition to the bassoon. Lorenzo Alpert. Savall ensemble is the ideal at the highest level, rather than a regional globe. The production Hogeschool voor 2019 season, the young With his interest for has been the musical station for curious music and work together with potential.” Furthermore, was nominated for a de Kunsten. As a Brit Nicholas Collon was early music, his interest director of Hesperion lovers. Holland Baroque internationally renowned the NPU’s performances YEAH award and a YAM choreographer, he appointed chief director for traditional Persian since the beginning. The has had successful soloists and conductors. of Bach’s Matthäus award, both European worked for De Nationale and artistic advisor of music kept growing. ensemble is noted for collaborations with On top of this, the Passion (since 2012) prizes for the best Reisopera, Via Berlin, the Residentie Orkest. Ensemble Shiraz has its scholarship in early unique musicians such NedPhO regularly gives and Johannes Passion musical performance Stage , Starting in 2019, Richard performed in various music — especially the as Leszek Mozdzer, Eric new musical talent the (2013) were remarkably for children. This year, Theaterfestival de Egarr will be their prin- settings across Europe music of 16th and 17th Vloeimans, Lars Ulrik opportunity to gain well received. The Oorkaan and the Parade, Theateralliantie, cipal guest conductor, and North America, century Spain. Their Mortensen, with groups experience by playing NRC described the Octet come together IT’s festival, Oerol, and until summer 2019, and has given radio performance practice is including Nederlands with the orchestra. In performances with once again for the Codarts, Fontys the chief conductor of performances in various noted for the liberal use Kamerkoor, Cappella this way, the orchestra “penetrating intimacy new production Cello Hogeschool voor the Residentie Orkest countries. Since some of improvisation around Amsterdam, Gesualdo looks to its own future by and a truly captivating Warriors. Three de Kunsten, and will be Jan Willem de time cellist Kian Soltani the basic melodic and Consort, Orkater, and fostering the passion and story”, and opusklassiek. choreographers each others. Caecilia Vriend. is performing with his rhythmic structures of many others. De Stentor performance techniques nl lauded the direct a part of this Thunnissen has been father’s ensemble. Singer the early pieces, resulting has said the following of the orchestra. The performances for their trilogy about acting the artistic director of Sepideh Raissadat in great emotional about the results of NedPhO is led by “succession of musical ‘cool’, winning and Oorkaan since 2015. studied classical intimacy and immediacy. these collaborations: chief conductor Marc peaks at an international losing, being vulnerable, She has worked Persian singing and ‘The instruments and Albrecht. top level”. During the and the power of music. with the Koninklijk setar in Teheran, and drastically diferent styles summer of 2017, the The production features Concertgebouw Orkest ethnomusicology in pose a contrast toward orchestra performed as music by Bartók, Ligeti, as a director of the Bologna and Toronto. each other in form, but the Wonderfeel Festival and Glass. Jochem operas Lohengrin enhance each other in Orkest with a Beethoven Stavenuiter is the (2015), and Wagner’s content. This is how trilogy. The orchestra is artistic director of the Der Fliegende Holländer something new is born – set to reappear at the Mime theatre group led by Andris Nelsons from tradition, innovation, Wonderfeel festival as Bambie. He has made (2013). For Oorkaan, surprise, and a pinch of the festival orchestra in successful productions she has directed the entertainment.’ Baroque the coming years. with Oorkaan in the family concerts Laat is now. past: De Suleika’s en me met rust! (Leave het mysterie van de me Alone!) (2017) gevoelige snaar (The with the Nederlands Suleikas and the Mystery Kamerorkest, and of the Chord) with Trio Romeo en Julia (Romeo Suleika, and Het Pleintje and Juliet) (2018) van Meneer Sax (The with the Koninklijk Square of Mr Sax) > Concertgebouw Orkest.

138 139 Dirigenten

The Symfonie Wishful singing is Orkest van het formed by fve singers Conservatorium who met at the van Amsterdam has Nationaal Jeugdkoor. had an important role They had a special at the Biënnale for click, which led them several occasions. to continue together Led by , the in female a cappella; a orchestra has given a relatively uncommon historic performance genre, which they all of The Map, Tan Dun’s hold dear. The group’s Antony Hermus Alexander Joel Violinist and conductor Klaus Mäkelä Still Ed Spanjaard Dirk Vermeulen has multimedia; ‘cello repertoire ranges from (Netherlands, 1973) (London, 1971) As Johannes Leertouwer in his early twenties, (Haarlem, 1948) gained an international concerto’. Moreover, the intimate pieces from became successful opposed to his half is chief conductor and conductor and cellist has been the chief reputation thanks orchestra has shared the renaissance and at a striking rate. brother Billy, Alexander artistic director of the Klaus Mäkelä is conductor of the Nieuw to his sensational the stage with the three baroque eras to upbeat After studying piano Joel chose the path Nieuwe Philharmonie the principal guest Ensemble since 1982. In interpretations of fnalists of the National and swinging versions and orchestra of classical music. He Utrecht, an orchestra he conductor of the addition, he is a frequent repertoire from the Cello Competition of golden oldies like Mr. conducting at the studied piano and then has presented a number Swedish Radio guest conductor 18th century and the many times, including Sandman. They evoke Fontys-conservatorium orchestral conducting in of unique productions Symphony Orchestra, at the Koninklijk romantic period. He this year. Led by Dirk emotions that can vary in Tilburg, he was Vienna. Joel has a vast with in the past years. Artist in Association Concertgebouw started out with a Vermeulen, the orchestra from silent melancholia appointed leader amount of experience The orchestra performs with Tapiola Sinfonietta Orkest, the Dutch radio successful career as a will accompany the to a tickling laugh. of the opera and in opera and has held on period instruments, and Artistic Director orchestras, and the violinist, but was invited three fnalists of Each singer’s individual symphony orchestra various Kapellmeister even when playing 19th- of the Turku Music Nederlands Kamerkoor. by Frans Brüggen to the competition in qualities form the basis of Hagen. He was the positions in Germany century and 20th-century Festival. This season Spanjaard has held a assist at a number Robert Schumann’s for their collective clear Generalmusikdirektor and Austria, including music, and is especially Mäkelä will return to conducting position of productions of the Cello Concerto in A intonation, harmony, and of the Anhaltische the Deutsche Oper focused on education conduct the Swedish at the Münchner Orkest van de 18e minor. In addition, the balance. These qualities Theater in Dessau am Rhein from 2001 – thus clearly bearing Radio Symphony Philharmoniker, as well Eeuw. This marked orchestra will perform combined with their Korngold|Deception at shared talent for timing (Germany) from 2009 to 2007. He was the its chief conductor’s Orchestra as Principal as the Staatskapelle the beginning of his the afternoon concert and comic mimicry have to 2015, conducting director of the opera and signature. Johannes Guest Conductor, and Weimar, the Danish conducting career. on Sunday, October 21. made Wishful Singing parts of Wagner’s Der symphony orchestra Leertouwer received he will embark on a National Symphony He founded his own The Conservatorium van a leading group in its Ring des Nibelungen, of Braunschweig conducting lessons multi-year exploration Orchestra, the Opéra chamber orchestra Amsterdam is a partner genre. among many other until 2014. Joel is a from of Beethoven’s in Lyon, Ensemble Prima La Musica in of the Cello Biënnale things. When he parted frequent guest at the and Jorma Panula. symphonies with Tapiola Intercontemporain , 1991, a highly praised Amsterdam. with the orchestra, he Bayerische Staatsoper He was the artistic Sinfonietta. Additionally, Ensemble Modern, collective. Vermeulen was named honorary in München and the director and conductor the18/19 season will and KlangForum Wien. has conducted conductor for his in of the Nederlands see his debut with His semi-concertante numerous orchestras exceptional service. London, among others, Jeugd Strijkorkest from Orchestre de Paris, performance of Così and worked with He has since led opera and he is the principal 1998 to 2006, during Orchestre National fan tutte with the Orkest eminent soloists such productions with guest conductor at which he also regularly de Lyon, Bergen van de 18eEeuw in 2013 as Maria João Pires and orchestras including the Opera Vlaanderen. conducted projects at Philharmonic Orchestra, was received extremely Jeanine Jansen, and Opera National de Paris He conducted the the conservatories of and the Antwerp, Bern well, and he was praised jazz musicians including and the Nederlandse Nationale Opera in the Paris, Antwerp, Leipzig, and Malmö symphony for his performance of Toots Thielemans Reisopera, and has had Netherlands in 2016 for and Amsterdam. He has orchestras. In Opera, he Ein deutsches Requiem and Wayne Shorter. guest performances a production of Puccini’s had guest performances made his debut at the with the Scottisch Vermeulen has recorded with the BBC Manon Lescaut, with the Noord Finnish National Opera Chamber Orchestra in over 25 CDs. He has Philharmonic Orchestra, with the Nederlands Nederlands Orkest, the conducting Mozart’s 2016. Ed Spanjaard been active in the opera the Bamberger Philharmonisch Orkest. choir and orchestra Zauberföte. was appointed chief world for a number of Symphoniker, of the Nederlandse conductor at the years, as well. and the Koninklijk Bach Vereniging, and Orkest van het Oosten Concertgebouw Orkest. the Osaka Symphony from the 2017/2018 Orchestra. season. He has been a conducting professor at the Conservatorium van Amsterdam since 2012.

140 141 Deelnemers Nationaal Cello Concours

Kalle de Bie(1994) Liesbeth Bosboom Canadian-Dutch cellist Irene Enzlin (1993) was Tom Feltgen started Miquel Garcia Ramon Eline Hensels Pieter de Koe (1994) started playing the cello (1995) is currently Carmen Bruno is accepted into the Yehudi playing the cello at the was born in 1997. After (1998) studied with studied at the Sweelinck at age six. In 2008, he pursuing her Master’s currently pursuing a Menuhin School in age of 6, studying with fnishing his studies Monique Bartels and Academie with Monique began his studies at degree at the Koninklijk Doctor of Music in England at age fourteen, Raju Vidali and Judith in Spain with Iñaki Felix Schmidt (Royal Bartels, and won the Conservatorium Conservatorium Den Cello Performance where she studied Lecuit in Luxembourg. In Etxepare and Maria Academy of Music, various prizes from a van Amsterdam under Haag, studying with at McGill University’s with Pierre Doumenge 2013, he was admitted Casado, he started his London), among others, young age, including the tutelage of Jeroen Michel Strauss and Jan- Schulich School of and Charles Watt. She into the cello class of studies at the Koninklijk and is currently studying at the Stichting Jong den Herder and Jelena Ype Nota. Additionally, Music (Montreal, went on to study at the Manfred Stilz at the Conservatorium Den with Alexander Petrasch Muziektalent Nederland Očić. He started his she is doing the Canada) with professor Universität Mozarteum Schola Cantorum in Haag with Michel and Gustav Rivinius. and the Prinses master degree in orchestral master of the Matt Haimovitz, where Salzburg with Clemens Paris, where he obtained Strauss and Jan-Ype She won 1st Prize and Christina Concours. He Amsterdam under Residentie Orkest. In she recently earned Hagen, and graduated a Diplôme de Concert. Nota. In 2015 he won the Laureate Prize in received his Bachelor Dmitry Ferschtman. June, 2017, Liesbeth her Master’s degree. with distinction. She In 2015 and 2016, the second prize in the regional fnals of of Music cum laude Kalle is a laureate of received her Bachelor She received her then studied at the Tom was in the young the cello competition the Prinses Christina from the Koninklijk various competitions. of Music at the Prins Bachelor of Music from Conservatoire Nationale talent class of Adnana Jovenes promesas del Concours in 2012 Conservatorium Den In 2016, he won the Claus Conservatorium the Conservatorium Supérieur de Paris, Alexandrescu-Rivinius violoncello Jaime Dobato and 2014, in addition Haag, where he studied Incentive Prize and with a 10. Liesbeth has van Amsterdam with where she graduated in at the Hochschule für Benavente. Since 2015, to being awarded the with Michel Strauss and the Start in Splendor performed in various professors Jeroen den 2017 with a “très bien à Musik Saar and in 2015 he has been playing ‘Prijs van het Limburgs Jan Ype Nota. Pieter prize at the National halls in the Netherlands Herder, Maarten Mostert, l’unanimité“ judgement. obtained the Diplôme a Sebastien Vuillaume Symfonie Orkest’. In is currently pursuing Cello Competition and abroad. She has and Dmitry Ferschtman. In 2013, Irene founded Supérieur with distinction cello built at the end of 2015, she won the his Master’s degree at in Amsterdam. With given solo performances She was a member of the Delta Piano Trio with at the Conservatoire the 19th century. ‘Staalbankiersprijs the Musikhochschule the Start in Splendor with several orchestras, the YOA Orchestra of Vera Kooper and Gerard de Musique du Nord Masterclass’ at Freiburg under the Prize, Kalle was able including the Nederlands the Americas in 2014, Spronk, with whom (Luxembourg). He took the Britten Cello tutelage of Jean- to organise a unique Kamerorkest. She and in 2015 she was she won international master classes with Competition, and a solo Guihen Queyras. With project in Splendor, has won prizes in invited to play as a competitions in Italy, Daniel Müller-Schott, performance with the his Animato Kwartet, revolving around the the national fnals of soloist with NYO Canada Latvia, Switzerland, and Gary Hofman, Niall Britten Jeugd Orkest. Pieter aims to attend music of Henri Dutilleux, the Prinses Christina on their nationwide tour. the Netherlands, and Brown, Frederico Eline took master the European Chamber in which he combined Concours, the Peter de She is a member of the performed numerous Romano, Cristoforo classes from musicians Music Academy. The diferent art forms. Kalle Grote Festival, and the 2018 Global Leaders times. The Nationaal Pestalozzi, Gustav such as Gustav Rivinius, Animato Kwartet plays on a beautiful Avond van de Jonge Program cohort and Muziekinstrumenten Rivinius, Dmitri Marcio Carneiro, Charles received a Kersjes Italian cello by Gaetano Musicus. Liesbeth plays recently travelled to Fonds has provided Ferschtmann, Trio Watt, Istvan Vardai, Kwartet scholarship and Chiocchi from ca. 1870, on a Radrizzani cello Panama and Chile to Irene with a Bertrand Broz, and the Juilliard Bruno Pasquier, and is receiving lessons from generously provided to with a bow by Andreas perform and teach. cello (2006), and she String Quartet. Since Emil Rovner. In 2017, Eberhard Feltz at the him by the Nationaal Grütter, provided to Carmen plays a French was given a Hans Karl 2016, after graduating she attended the Pablo Nederlands StrijkKwartet Muziekinstrumenten her by the Nationaal cello, circa 1880 made Schmidt bow on loan by secondary school in Casals Academy. For her Academie. Pieter has Fonds. Muziekinstrumenten by Theophile Pierre, and Henk te Hietbrink. Luxembourg, Tom has studies in London, Eline performed at festivals Fonds. generously loaned to been studying at the received an Entrance such as Davos, Harmos, her by the Carlsen Cello Conservatorium van Scholarship from the the Mahler Academy, Foundation. Amsterdam with Gideon Royal Academy of and the Grachtenfestival. den Herder. Music, and scholarships He is also a part of from the Van Den various cross-arts Ende Foundation and projects like ISH, Yopera, Fundatie Vrijvrouwe Van Troupe Courage, and his Renswoude. own production Wonder.

142 143 Deelnemers Nationaal Cello Concours

Sara Novoselić Renée Timmer João Valpaços Simon Velthuis Melle de Vries (1994) Emma Warmelink Amke te Wies 1994) (Croatia, 1992) started (Groningen, 1994) (Chaves, Portugal, (Haaksbergen, 1992) is in the second year (1997) is a student started to play the cello studying the cello at is studying in the 1994) began playing started taking cello of his Master studies of the Koninklijk at the age of 8. She the Arts Academy in second year of her the cello at the age lessons aged 9 at at the Conservatorium Conservatorium Den was only 12 years old Rome and continued Master’s degree at the of twelve. In 2016 he the music school in van Amsterdam, Haag. She started her when she got admitted her studies in Croatia, Conservatorium van fnished his Bachelor’s Haaksbergen. After just studying with Dmitry cello studies with Rosalie to the Conservatorium enrolling at the Amsterdam with Mick degree with Ran Varon three years of playing he Ferschtman. From age Seinstra at the Young van Amsterdam Music Academy of Stirling. She received at the HKU Utrechts was accepted into the four, his education took Talent Academy of where she studied Zagreb in 2011. She her Bachelor of Music Conservatorium, and young talent department him from Groningen to Codarts Rotterdam. She with Maarten Mostert. has won prizes at in 2017 with Maarten he is currently pursuing in Enschede, where The Hague and Berlin. continued her studies After high school, she several competitions, Mostert. She is a his Master’s degree at he studied with Paul He participated in with Lucia Swarts at the continued her studies such as a 3rd prize passionate chamber the Conservatorium van Uyterlinde. From age various competitions, School for Young Talent with Roel Dieltiens at at the Papandopulo musician, and with Amsterdam studying sixteen, he continued his including the Prinses in The Hague. She the Musikhochschule Competition for young her string quartet she with Jeroen den Herder. studies in the preliminary Christina Concours frequently participates Zürich. Amke fnished musicians, as well performed in the pre- In addition, he has taken Bachelor study at the and the National Cello in orchestral projects, her Bachelor studies in as 1st prizes at the programme of the part in master classes ArtEZ conservatorium Competition, where chamber music, and June 2017 with Jelena National Chamber Leipziger Quartet and with eminent cellists in Zwolle, studying with he was praised for performs contemporary Očić in Amsterdam. Music Competition the Juilliard Quartet. In such as Gary Hofman, Jeroen Reuling. After his virtuosity. Melle is music. She is a member From September 2017, in 2014 and 2015 2018, she was selected Lluis Claret, Amit receiving his Bachelor’s currently coached by of the Nationaal Jeugd she has been pursuing and a 1st prize at the to be a part of the Peled, Marc Coppey, degree in 2015 from the organisation Classic Orkest, where she was a Master’s degree in Croatian National Music project ‘In de ban van Tsuyoshi Tsutsumi, the Conservatorium Young Masters, by appointed principal Instruments in Historical Competition. She has Brahms’ (Under the Maria de Macêdo, van Amsterdam, where Maria Croese. Melle cello this last summer. Performance Practice. also had the opportunity spell of Brahms) and and many others. His he studied with Floris plays a French cello Emma has received She is receiving modern to give a solo recital at gave performances with passion for orchestral Mijnders, he went on built in 1914 by Fernand master classes from cello lessons from Jelena the Croatian National Candida Thompson and playing led him to to pursue his Master’s Jacquot, given to him musicians such as Harro Očić and baroque cello Theatre in Split, and Harriet Krijgh. Renée take part in various degree in Amsterdam on loan by the Nationaal Ruijsenaars, Aldo Mata, lessons from Viola de has given numerous has given a number of professional and student with Dmitry Ferschtman Muziekinstrumenten Dmitry Ferschtman, and Hoog. Amke was a other performances world premieres, and orchestras, performing and Maarten Mostert. Fonds. Anner Bijlsma. In 2016, member of the Dutch across Croatia. In enjoys collaborating with in the most renowned Simon plays a cello she won the Donemus string orchestra the 2017, she graduated diferent forms of art to halls in Portugal and built around 1840 Prize at the Prinses Fancy Fiddlers. She from the Music seek the boundaries of the Netherlands, and in London, on loan Christina Concours, for received several master Academy of Zagreb classical music. Renée working with prestigious from the Nationaal her rendition of a Dutch classes with acclaimed and she is currently a plays on a cello by conductors and soloists. Muziekinstrumenten composition. Emma musicians including Master’s student at the Hein Woldring, which As a soloist he obtained Fonds. plays a cello built by Anner Bijlsma, Richard Conservatorium van was fnanced with several prizes in Daniël Royé, provided Aaron, Reinhard Latzko, Amsterdam, studying the generous support competitions in Portugal to her by the Nationaal Gary Hofman, and Paul with Jelena Očić. of Stichting Eigen and Holland, and he has Muziekinstrumenten Katz. Muziekinstrument. had the opportunity to Fonds. Her bow was given on perform works by Haydn loan by the Nationaal and Tchaikovsky as a Muziekinstrumenten soloist. Fonds.

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NTR Mediapartner +32 497 97 62 86 Cello Biënnale 2018 www.jdesaedeleer.com Av. Giraudlaan 96, B-1030 Brussels Uitzendingen vanaf oktober te beluisteren op NPO Radio 4. Meer klassieke muziek? radio4.nl/avondconcert

.NL HET HELE JAAR DOOR DE BESTE JAZZ Bekijk de hele agenda op bimhuis.nl/agenda MATTHIEU LEGROS VIOLIN MAKER in SCHIEDAM

Tanguy Fraval +31 686 100 603 +420 7+3173 68608 0100 0 26033 violin maker [email protected]@r-gmleagil.crooms .com QUESSOY, BRETAGNE, FRANCE [email protected]

François Servais (1807-1866) Il Paganini del Violoncello... G. Rossini Op zoek naar partituren, opnames of info? Contacteer ons! Nieuw: boek 'De Belgische Celloschool - Masarykova 9 The Belgian School of Cello Playing' 60 200 BRNO 0033 6 52 63 22 81 Servais vzw www.fraval-luthier.com [email protected] www.servais-vzw.org

Urs W. Mächler

U M New Cellos Violins Violas & Bows for Soloists

www.maechler.de Verkoop van oude en nieuwe celo’s door en celist/celodocent in Amsterdam Christian Poltéra + Ronald Brautigam Artemis Quartett Alisa Weilerstein Dudok Quartet www.celloverkoop.nl Maria + Nathalia Milstein De absolute top Wil jij een mooie cello kopen? Heb je niet de ultieme klik met je huidige cello? Weet je niet precies wat je zoekt of waar je moet beginnen te zoeken? Omdat ik al sinds 1996 celloles geef zie ik meteen wat jij nodig hebt. In tegenstelling tot vioolbouwers bespeel ik de Kamer cello’s die ik verkoop zelf en weet ik wat een goede cello is voor een beginner, of juist voor een gevorderde. Ik vind het leuk om je te helpen! En aan de referenties van mijn klanten te zien komt dit over. Kom ook langs in de studio in muziek Amsterdam Houthaven of in Havelte, Drenthe waar ik woon. Dit gaat op afspraak. CELLOBIENNALE 5% Korting Van 18 oktober tot 18 november 2018 is er een speciale CELLOBIENNALE aanbieding. Namelijk 5% korting op alle nieuwe en oude cello’s welke ik uit eigen voorraad aanbied. FILM: HIER TE ZIEN HOUT, ZWEET EN HAREN Derazey, Moitessier, Thibouvile-Lamy, Couesnon, Caussin, Laberte, Wunderlich, Neuner, Neuner-Hornsteiner, Klotz, Robin, Thompson, Pernoud, en vel mer. MET

Ik ben Scarlett Arts, celliste en cellodocent. Mijn cello’s trekken cellisten aan uit heel Nederland, België en Frankrijk. Mijn aanbod gaat van ongeveer € 2395,00 tot € 15.000,00 zowel nieuwbouw als oud. Cellomaker Annemijn; ‘...Die cello, echt waar die is zo ontzettend fjn om mee te spelen!! Echt precies goed. Ik merk nu al dat ik veel meer dingen kan doen (kleiner, minder belasting voor handen, kan veel langer spelen). Dankjewel!!!’ Tobias Gräter Theaterstraße 7 Op www.celloverkoop.nl vind je mijn website en op www.celloverkoop.nl/shop 69117 Heidelberg zie je mijn aanbod van oude en nieuwe cello’s. Cello’s proberen kan te Amsterdam 06221-6510930 of te Havelte, Drenthe. Voor een afspraak kun je bellen met mij, Scarlett Arts, [email protected] op 06 18 18 9005 of je plant je zelf in via de on-line agenda voor een afspraak in www.geigenbau-graeter.de Amsterdam: www.celloverkoop.nl/agenda

Scarlett Arts • Haparandaweg 788A 1013BD Amsterdam • Rijksweg noordzijde 7 7971 CX Havelte “Searching for Ludwig”

Grand Café 4’33”

Geanimeerd genieten met een prachtig uitzicht over het IJ. Tijdens de Cello Biënnale zijn wij dagelijks geopend voor ontbijt, lunch en diner.

Openingstijden: 09:00 - 01:00 (weekenden 03:00)

2 gangen diner: € 29,50 3 gangen diner: € 36,50

Brasserie Biënnale

Geniet in ons Pop Up restaurant van lokale producten. Ons restaurant is dagelijks geopend voor lunch en diner en biedt een uitgebreide kaart. 25 September – 1 October 2019 Openingstijden: 11:30 - 21:00 Photo: Patricia Truchsess

Cello Biennale -aangepast.indd 1 28-06-18 09:16 Cello Biënnale Amsterdam thanks Traveling to the festival

Subsidized by Media partners The location of the festival in the Amsterdams Fonds voor de Kunst NTR Muziekgebouw and Bimhuis is easy to reach. Food & drink Fonds Podiumkunsten Radio 4 During the Biënnale, it’s possible to buy Het Parool The address is Piet Heinkade 1, 1019 BR, lunch, dinner, drinks, or cofee between 11:30 Main contributors NH Media/AT5 close to the Amsterdam Central Station and Fonds 21 BRAVA and the evening concert at the Brasserie VSBfonds Salto Amsterdam’s city centre. Biënnale, which has been built in the atrium of the Muziekgebouw aan ’t IJ specially for the Public transport Foundations The new Dutch compositions were sponsored by a The Muziekgebouw aan ‘t IJ is about a 10 minute festival. Sena Performers contribution from the Performing Arts Fund (FPK). walk from Amsterdam Central Station. For a more complete menu, there is the Prins Bernhard Cultuurfonds The Bang on a Can compositions have been made From Amsterdam Central Station: tram 26 to IJburg, Jonge Musici Fonds possible by contributions by the Eduard van Beinum Grand cafe 4’33”, the restaurant of the the frst stop is the Muziekgebouw and Bimhuis MCN Fonds Stichting and Amsterdams Fonds voor de Kunst. Muziekgebouw. Grand cafe 4’33” will be Due to the steep angle of the pedestrian bridge Wijdeveld-Polée Fonds serving a special Biënnale menu, in addition at the Muziekgebouw, people with a physical Stichting Dioraphte Patronage to the à la carte menu. For reservations: 020- impairment are recommended to alight one stop Eduard van Beinumstichting Marcella Bonnema-Kok, Ferdinand ter Heide, familie further (Kattenburgerstraat), and to approach the main 7882090. Brook Foundation Macko Laqueur, Tjaco van Leersum, Julienne Straatman entrance of the Muziekgebouw along the bottom, via There is another larger menu available at the Janivo Stichting en Robert Bausch, Elise Wessels. the Passenger Terminal Amsterdam (PTA) and the NORMA Fonds Silk Road restaurant, which is situated in the Mövenpick hotel. BNG Cultuurfonds The Casals Circle Mövenpick Hotel next to the Muziekgebouw. Stichting De Weille Ogier The Casals Circle is formed by friends of the festival that For reservations: 020-5191200 or www. By car Eleven Floawers Foundation support the Biënnale’s activities in talent development silkroad.nl. From the Oostelijke ringweg A10, take exit S114 to SEC (Stichting Educatie & Cultuur) and education with a gift of at least € 1.000,- per year. Centrum. You will drive into the Piet Hein tunnel. After Het Kersjes Fonds exiting the tunnel, turn right toward Central Station. On the six mornings that Bach&Breakfast dr. Hendrik Muller's Vaderlandsch Fonds Friends After the third trafc light, take the second right exit. P.W. Janssen’s Friesche Stichting The Biënnale is supported by a growing circle of friends takes place (October 21, 22, 23, 25, 26, and The entrance of the parking garage is in front of the J.C.P Stichting who support the festival with an occasional or recurring 27), breakfast of cofee/tea, a croissant, and Passengers Terminal Amsterdam. Stichting De Ruusscher gift. Their contributions are an essential foundation for the fresh orange juice is available from 08.45, From Haarlem, follow the S103 to Central Station via AMVJ Fonds Cello Biënnale Amsterdam. in the Entrance Hall or Foyerdeck 1. This the Van Diemenstraat. You will pass Central Station Goethe Institut from the back side and will see the Muziekgebouw breakfast is included in the ticket price (€ 15,-). Mr. August Fentener van Vlissingen Fonds The Cello Biënnale also extends gratitude to a number aan ’t IJ at your left hand side after about 500 metres. Gilles Hondius Foundation of contributors and foundations that prefer to stay VandenEnde Foundation anonymous. Parking Stichting ANBI de Hoorn Parking is possible right under the Muziekgebouw Cello Biënnale Amsterdam in Für Elise CBA Fonds Stichting Anner Bijlsma Award using the Parkeergarage Piet Hein. From there, the media The Anner Bijlsma Award is an international oeuvre Entrance Hall is accessible with stairs or the elevator. The Cello Biënnale is receiving attention from Sponsors prize, established by the Cello Biënnale, to stimulate Visitors of performances in the Muziekgebouw are Van Doorne education and talent development in the cello world. The media partners NTR Radio 4, AT5, and RTV eligible for a parking discount: 4 hours parking for € Loyens & Loef prize is awarded once every few years to a person or Noord-Holland, BRAVA, Het Parool, and 10,-. Grand Café 4’33’’ institution that has proven to be of exceptional service to Salto. More information: www.muziekgebouw.nl/ VolkerWessels the cello and the cello repertoire. In 2014, the prize was muziekgebouw/Adres&route OZ Architecten frst awarded to the person it was named after: Anner Biennale TV D’Addario Bijlsma. The board of Stichting Anner Bijlsma Award Are you planning on a ‘Biënnale day’ and want to stay Reporter Beitske de Jong and camera man Gewa Music is formed by Job Cohen - chair, Julienne Straatman – at the Muziekgebouw for more than 5 hours? Please vice chair, Marjoleine de Boorder, Anton Valk and Irene Nander Cirkel will be reporting every day for the park at the P+R Zeeburg with a connection to public Partners Witmer. websites of the Cello Biënnale and transport, tram 26 to Central Station (fourth stop is Muziekgebouw NPO Radio 4. Muziekgebouw/Bimhuis). Parking costs € 1,- per day Bimhuis (after 10.00, before 10.00: € 8,-). These prices are NTR will be broadcasting a large number of Eye exclusively valid in combination with a public transport concerts on Radio 4, of which a number will Conservatorium van Amsterdam ticket. More information: www.parkeren-amsterdam. Kronberg Academy be live. AT5 and RTV Noord-Holland, BRAVA, com Nederlands Philharmonisch Orkest and Salto will feature the Biënnale through their Oorkaan own reports and by broadcasting reports by Prinses Christina Concours Biënnale TV. November Music NTR will broadcast a few concerts. A number Splendor of concerts will be video recorded by Darren Ludwig VluchtelingenWerk Nederland Carter’s video team. Musicians without Borders Anner Bijlsma Award Music for Galway Flamenco Biënnale I Amsterdam Openbare Bibliotheek Amsterdam

162 163 Festival team/colofon

Festival team Colophon artistic director: Maarten Mostert main editor: Harm van Heerikhuizen managing director: Johan Dorrestein editors: Johan Dorrestein, Maarten Mostert, Michaël Let’s production manager & public relations: Neuburger Michaël Neuburger articles: Carine Alders, Persis Bekkering, Christel Don, editor festival book & productions assistant: Johan Dorrestein, Robert van Gijssel, Floris Kortie, Bas Harm van Heerikhuizen van Putten, Saskia Törnqvist, Micha Wertheim do it programming & productions assistant: programme notes: Carine Alders Christiaan de Wolf translation articles and programme notes English ofce manager: Hanneke van Willigen edition: Jamie Lingwood together festival producer & volunteers coordinator: translation other texts English edition: Maren Bosma Dorien de Bruijn design: Werner Studio, Leander Lammertink producer Hello Cello: Tjakina Oosting press: Mud Company marketing & publicity: Marleen Paping Photography: Uwe Arens, Jürgen Bauer, Fred van de intern: Lizette Manak Biezen, Ben Bonouvrier, Marco Borggreve, Simon van Creating a ten-day long cello festival, organising the National production festival fair: Nellie Cornelisse Boxtel, Mircea Catasanu, Celia de Coca, Axel Coeuret, Cello Competition, ofering opportunities to talented programming Cello Lounge: Matthieu Huijsser Mark Daams, Merlijn Doormernik, Jelmer de Haas, assistant Hello Cello Orchestra: Femke de Caluwé Károly Efenberger, Henry Faber, Klaus Fröhlich, Nichon young people, presenting concerts given by internationally fnancial administrator: boqx 0, Merel Dercksen Glerum, Javier González, Maurice Haak, Brendon Heist, secretary jury National Cello Competition: Patty Hamel Nancy Horowitz, Liesbeth Keder, Keke Keukelaar, acclaimed musicians, and organising all kinds of activities editor chidren’s book: Mirjam van Hengel Henry Krul, Lodz Reklama, Kadir van Lohuizen, preceding the festival; all of this only becomes possible with English copywriter: Maren Bosma Paul Luckeneder, Nikolaj Lund, Eric Manas, Gregor design: Werner Studio, Leander Lammertink Meerman, Jean Baptiste Millot, Gian Maria Musarra, your help. production assistants: Irene Kok, Emma Kroon Neda Navae, Max Parovsky, Francesca Patella, Federico Porta, Isabelle Renate la Poutré, Sytze Pruiksma, Adrian Additional help Pytlk, Dirk Rietveld, Alex Salinas, Gerardo Antonio Olaf van der Aart, Marijke Befers, Marieke Bekirov, Sanchez Torres, Saris & den Engelsman, Wouter Give us a boost Hidde Bekkers , Hester de Beus, Judith Bruijn, Charlotte Schenk, Foppe Schut, Gregg Segal, Evgeniy Shtyrov, Every contribution is most welcome. Donating is possible directly on Brussee, Eveline van Cleef, Eadaoin Copeland, Heikki Tuuli, Stephan Vanfeteren, Annelies van der Vegt, Eloise Davis, Felicia Dercksen, Chieko Donker Duyvis, Jamy White, Sarah Wijzenbeek, Alvaro Yanez, Amber the website: cellobiennale.nl/steun-de-biennale Sofe Ehling, Hannah Feltkamp, Francisco Fernandez Zwartbol. Ruiz, Charlotte Gulikers, Eva Halbersma-Nagy, Peter Halbersma, Lisa Jonk, Inés de Juan, Esther ten Kate, We have tried to ensure the rights of all the image Or support us for a little longer Jeroen Kellerman, Marina Kok, Ivo Lemken, Loïs van material are covered. Those who believe they own any Malenstein, Catarina Moura Nunes, Mara Mostert, Yasha copyright may contact the festival. Do you want to help ofer the Cello Biënnale more security for the Mostert, Liesbeth Nienhuis, Els van den Oever, Annie Oude Avenhuis , Birgit Oyen, Robert Ploem, Pauline © 2018 future? Then why not consider an ongoing commitment? This type of Ruijs, Eva van Schaik, Majanka Timmers, Ida Weidner Cello Biënnale Amsterdam periodic gift is tax deductible. Piet Heinkade 5 Board 1019 BR Amsterdam Supervising: Anton Valk (chair), Janneke van der Wijk 020 519 18 08 (secretary), and Saskia Laseur (treasurer). Executive: [email protected] The Casals Circle Maarten Mostert, Johan Dorrestein. www.cellobiennale.nl Or give the Casals Circle some consideration. The Casals Circle is formed by groups of around 10 festival friends who support the activities of the Biënnale in talent development and education with a yearly periodic gift of at least € 1.000,-. The circles are formed by The eighth Cello enthusiastic supporters of the Biënnale. The Cello Biënnale organises Biënnale Amsterdam exclusive (house) concerts and meeting events for these groups, both will take place on during and outside the festival. October 22 to 31, 2020 Want to fnd out more about the diferent ways to support the Cello Biënnale? Go to cellobiennale.nl/en/support-the-biennale/, The Sneak Preview of the eighth or contact Johan Dorrestein, managing director, at Biënnale will take place on Friday, [email protected] October 25, 2019 or Michaël Neuburger, production manager & public relations, at [email protected] 164 165 Subsidized by Main contributors

Foundations

JONGE MUSICI FONDS MCN FONDS WIJDEVELD-POLÉE FONDS

ANBI De Hoorn

Stichting De Ruusscher

Sponsors

Grand Café 4’33’’

Partners

Media partners

cellobiennale.nl