Summer 2014: in two big festivals, the Concentus Moraviae Festival and the Maggio Musicale Fiorentino music of mine was played.
Very nice to hear that Liszt-competition winner Jean Dubé played my Fantasque in his Dutch concert!
Just started writing a new work for the famous Škampa Quartet. First performance planned for March 2015 in The Hague.
… cellist Mascha van Nieuwkerk playing the Two Lyrical Dances. Another performance was recently broadcast by Opium on Dutch classical NPO Radio4, with an interview by presenter Mieke van der Weij.
Listen to that broadcast here, starting at 34’.
…rising star violinist Rosanne Philippens on Dutch classical NPORadio4 talking to presenter Hans Haffmans about the Freiburg International Violin Competition, that she gloriously won, and about the Zarabanda for violin solo that I wrote this summer, with her help, for her to play in this competition.
Listen here (Part 2 from 6’25”).
One wonders what the music will be of Niall Ferguson’s new ‘Wholly German Empire’…
It might resemble its famous ancestor much in the way my recent violin sonata resembles (or rather fails to resemble) its illustrious classical prototypes…
Willem Wander van Nieuwkerk is a Dutch composer of a new classical music, rich in lyricism and full of rhythmic vitality, that makes the 21st century resonate with the musical traditions of the 19th. Recent examples are his piano trio De tout mon coeur, Over the Water for guitar and string quartet and the songcycle Bergidylle.
Born in Amsterdam in 1955 of Indies-Dutch parents, he started as an improvising musician and only took to written composition while studying musicology at the University of Utrecht. Although he became a specialist in Modern Classical music, his work is marked by the expressive lyricism and formal richness of the Classical-Romantic tradition, while at the same time comprising Pop and Early Music idioms.
He has a mixed background in classic piano, jazz and percussion, and initially worked with self-styled ensembles that combined pop music and pop musicians with classical players and classical forms. His strong interest in Early Music resulted in a number of pieces for Early Music ensembles that successfully apply the sound quality of Early Music to Africa-derived rhythms and a contemporary, highly melodious and polyphonic idiom.
In his new chamber music for traditional chamber music ensembles the extremes of contemporary vernaculars, World Music and Early Music meet. Often having historical melodies as a starting point, sometimes taken from a specifically Dutch background (like the Antwerp Songbook), sometimes from a wider European one (like troubadour song or Protestant church music), these chamber music works combine contemporary rhythms and expression with the polyphony, ensemble playing and lyricism of Classical-romantic forms.