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Do 15 feb 2018 Grote Zaal 20.15 uur

Donderdag avondserie

Nieuw Ensemble An Evening of Today 2018

Het gratis beschikbaar stellen van dit digitale programmaboekje is een extra service ter voorbereiding op het concert. Het is uitdrukkelijk niet de bedoeling deze versie tijdens het concert te raadplegen via uw mobiele telefoon. Dit is namelijk zeer storend voor de andere concertbezoekers. Bij voorbaat dank.


Donderdag avondserie Serie Nieuw Ensemble

Nieuw Ensemble An Evening of Today 2018 Ryan Bancroft dirigent Jorge Luís Castro bariton (Nuno Lobo) Nieuw Ensemble: Marieke Franssen fluit Ernest Rombout hobo Anna voor de Wind klarinet Martine Sikkenk mandoline Helenus de Rijke gitaar Ernestine Stoop harp Paolo Gorini piano Herman Halewijn slagwerk Sergio Sande slagwerk (Kate Honey) Cordelia Paw viool Frank Brakkee altviool Kalle de Bie cello Dario Calderone contrabas

Do 15 feb 2018 Grote Zaal 20.15 - 22.30 uur ca. 40 minuten voor de eerste pauze ca. 20 minuten voor de tweede pauze ca. 30 minuten na de tweede pauze

Inleiding Foyerdeck 1 19.15 - 19.45 uur Joël Bons in gesprek met de zes componisten

Boyan Montero, Karin Iturralde props en kostuums (Boris Bezemer) Vito Willems m.m.v. Erik van Zoelen, Floris Hagemans, Joost Dankelman interactive light setup (James Alexandropoulos-McEwan) David Ko elektronica/techniek (Kate Honey, Boris Bezemer)

Dit project is mede mogelijk gemaakt dankzij een bijdrage van de JCP Stichting

We verwachten een internationaal publiek. Daarom is ervoor gekozen de toelichtingen en de biografieën in het Engels te plaatsen.

Bent u niet vergeten uw mobiele telefoon uit te zetten? Dank u wel.



Alexandre Kordzaia (Georgië) Lightbulbs Nuno Lobo (Portugal) 無 Wú Boris Bezemer (Nederland) A Puppet Opera Pauze Kate Honey (Engeland) Anthropocene Il-Hoon Son (Zuid-Korea) Musical Game Series #7 ‘Rhythm Bomb’ Pauze * James Alexandropoulos-McEwan (Griekenland/Schotland) More Layers * I.v.m. een zaalombouw (ca. 30 minuten) verzoeken wij u niets in de zaal achter te laten


Introduction Ieder voorjaar presenteert het Nieuw Ensemble een première-programma onder de titel An Evening of Today. Jonge componisten – masterstudenten en alumni van de conservatoria van Amsterdam en Den Haag – krijgen de vrije hand om een werk voor het Nieuw Ensemble te schrijven. De verbeelding staat hierbij centraal: de componisten worden gestimuleerd de ongekende mogelijkheden van het Muziekgebouw en de musici te benutten en kunnen daarbij gebruik maken van speciale belichting, ongebruikelijke opstellingen, video, elektronica en meer. De componisten van de editie van 2018 zijn: Nuno Lobo (Portugal), Kate Honey (Engeland) en Boris Bezemer (Nederland) van het Conservatorium van Amsterdam en James Alexandropoulos-McEwan (Griekenland/ Schotland), Il Hoon Son (Zuid Korea) en Alexandre Kordzaia (Georgië) van het Koninklijk Conservatorium Den Haag.

De lijst jonge componisten die sinds 2013 bij An Evening of Today nieuw werk hebben gepresenteerd is inmiddels indrukwekkend: 2013 Wilbert Bulsink Hui-Tak Cheung Kaja Draksler Trevor Grahl Noriko Koide Giuliano Bracci Thanasis Deligiannis 2014 Kate Moore Yoshiaki Onishi Mátyás Wettl Igor Iofe Flora Koene Felipe Ignacio Noriega Emre Sihan Kaleli 4

2015 Gunnar Gunnsteinsson Manuel Sánchez García Michalis Paraskakis Luke Deane Genevieve Murphy Petra Strahovnik 2016 Carmen Vanderveken Darragh Kearns-Hayes Haukur Þór Harðarson Lam Lai Rick van Veldhuizen Seán ó Dálaigh 2017 Brechtje / Jerboah Emile Frankel Yael Levy Carlo Diaz Simon Knighton Marcelo Chacur Politano


Het Nieuw Ensemble is nieuwsgierig naar jong talent. Zoals tijdens An Evening of Today. De avond waarbij het Nieuw Ensemble de sleutel van het Muziekgebouw krijgt en deze vol vertrouwen in de handen van het toptalent van het Conservatorium stopt. Dat heeft er al toe geleid dat de zaal werd omgebouwd tot tennisbaan en het geluid van vliegertouwen buiten deel uitmaakten van een soundscape binnen, in de Grote Zaal. Maarten van Boven directeur Muziekgebouw aan ‘t IJ

An Evening of Today aims to present the latest ideas and artistic endeavours of young composers in a professional context. Few are the opportunities for the general public to hear such an outstanding ensemble showcase the creativity and musical craft of young artists. Carmen Vanderveken, componist (deelnemer editie 2016)

First and foremost, An Evening of Today is about finding ways to connect with an audience in different ways than the usual, and searching for a new way to package ideas and deliver them. This is of great value, because the art world is a dynamic and ever-evolving beast in which ways to communicate have to be found perpetually. The audience may be moved, fascinated or intrigued – no matter their age, as long as they enjoy seeing what’s happening in ‘classical’ music right now. In facilitating this project, the NE pits itself at the frontline and gives us the – undeniably great – possibility of working with a professional ensemble. Rick van Veldhuizen, componist (deelnemer editie 2016) 5

Programme Notes Alexandre Kordzaia

Boris Bezemer


A Puppet Opera

This piece is based on a very simple and slightly confusing rhythmical pattern found in Georgian folk music. This pattern is first presented in its raw form and then taken on a little journey through different harmonic and melodic worlds. The acoustic soundworld is enhanced by a slightly out of tune polyphonic synthesizer.

In this piece for the Nieuw Ensemble I am looking for sound characters that are intense and unveiled; that express themselves through techniques of modern music; and that keep on repeating until exhausted. Their common quality is a determined and forward pointing focus. These sound characters keep piling up again and again in different combinations and every time they form another experimental architecture. A Puppet Opera is structured in nine movements. Movements 4, 7, 8 and 9 start attacca: without a break after the previous movement.

Nuno Lobo 無 Wú We join spokes together in a wheel, but it is the center hole that makes the wagon move. We shape clay into a pot, 
 but it is the emptiness inside that holds whatever we want.

Kate Honey Anthropocene

In my piece Anthropocene, I am interested in the duality of nature and natural systems, and industry and industrial systems. Musically, I aim to contrast and mix cyclical, We hammer wood for a house, repetitive music (which I associate with but it is the inner space that makes it livable. 

 nature) and music which intensifies and accelerates (which I associate with industry). We work with being, The first half of the piece is more cyclical, but non-being is what we use. whereas the ending is an acceleration and intensification. Tao Te Ching, Lao Tse Chapter 11 The Value of Non-Existence At Hambach in Germany (close to Stephen Mitchell (translator) Cologne), nature and industry are in 6

Programme Notes

dramatic juxtaposition. Hambach Forest is an ancient forest many hundreds of years old. Since 1978, 90% of the forest has been cleared by RWE (an energy company) to make way for Europe’s largest coal mine: the Tagebau Hambach, a mine the size of Amsterdam. In December 2017 I joined the forest treehouse protest camp to try to halt RWE’s forest cutting season. When one is in the forest, there is a constant whine of machinery from the mine next door, and anonymous private security white vans circle the forest all day. These sounds mingle with the sounds of the wind in the trees, the birds, the snapping of twigs. The music (and slideshow) are a series of tableaux inspired by the experience of being in the forest, and also the experience of being in the mine (which is regularly invaded by thousands of climate activists) – an area like a moonscape, devoid of life. The recorded sounds from the electronics and slideshow pictures are from the mine and from the forest. The stones played by the percussionist are two stones from Hambach forest. With an alternative tuning system, I aim to depict the weirdness, complexity and mystery of the forest, and also the ‘jarring’ feeling of the industry next door, ready to invade and destroy the forest at any moment. Emtpy, ‘triumphalist’ music heralds the industrial complex of the mine machinery – which is nonetheless awesome in its scale and power. ‘Anthropocene’ is a name given by scientists to our new geological epoch (following the

Holocene) which is defined by human influence on the climate and biosphere. The planet on which we live has been radically altered since the Industrial Revolution. 1,400 billion tons of extra CO� have been emitted into the atmosphere since 1750 due to human activity (50% of these have been emitted since 1988). The melting of the polar icesheets has already affected how the Earth spins on its axis, and will have an enormous effect on sea level, oceanic acidity and oceanic circulation. The Holocene (the previous geological epoch) was characterised by climactic stability following the last Ice Age. The Anthropocene is characterised by system destabilization and accelerating feedback loops.

Il Hoon Son Musical Game Series #7 ‘Rhythm Bomb’ Musical Game Series #7 – ‘Rhythm Bomb’ is a piece composed based on game rules and it gives the performer maximum creativity to participate in. This new game piece for Nieuw Ensemble is 7th among the series and it’s a survival game. The ten players have to pass the bomb on to each other quickly. A player with a bomb can pass a ‘bomb’ by playing another player’s specific rhythm. The referee sets a time limit of a ‘bomb’ for each round and whatever player still playing at the bomb limit is eliminated from the game. Guess who will survive! 7

Programme Notes

James AlexandropoulosMcEwan More Layers More Layers is a piece that continues on works I have been exploring in recent compositions and performances, as well as in my Masters Research entitled Movable Furniture Music: Creating Music of Engageable Ambience. The piece creates a mix of a performance and installation setting: the musicians are spread across the hall, and respond in a predefined way to videos that are provided for the piece and which delineate the structure of the work. The audience is asked to stand and encouraged to move around the space and the musicians. Also, the audience is encouraged to use their smartphones during the performance to playback videos made specifically for the piece. And as lights and colours and electronic sounds are produced by all the videos, each performer is also attached to an interactive light, which brightens and dims according to how loud they play at any given moment. It’s an environment that audience and performers are given a degree of freedom to explore on their own terms. It provides a wealth of stimuli and information that can be decoded and experienced in many ways. In a world where technology is a central part of our lives, this piece examines a set of circumstances in which phones and 8

portable electronic devices instead of being banned from a concert hall are used to drive a performance. It investigates boredom, patience, short attention spans, sound and physical space, sound and image, recorded music and live music, colour and music, commonplace electronic technology, and a desire to interact with a closed off and distant world. Special thanks to Erik van Zoelen and Floris Hagemans for their technical assistance with the light set up.

Profiles Composers Alexandre Kordzaia

Alexandre Kordzaia (1994) is a composer and producer born in Tbilisi, Georgia. His music is a mesh of carefully balanced oppositions: deliciously snappy transients punctuate shimmering soundscapes, gently morphing into funk – a melancholic post-soviet feel pays sentimental homage to a private vision of the 1980s. Acoustic instruments sit side by side with analog synthesizers and drum

machines; field and Foley recordings blend the recognizable into the fuzzy and surreal. Growing up in a musical family he started to play drums in bands and participate in classical piano competitions at a very young age. After discovering electronic music, he decided to study sound design/engineering at the music academy of Basel, where he began to develop his own musical language. Currently he is doing his masters at the composition department of the Royal Conservatoire The Hague, with the goal of bringing the worlds of acoustic and electronic music together in a way that makes it seem as if they’ve never been two separate things in the first place. Besides releases on Prrrrrrr Records, Medschool, Hospital Records, his music is regularly performed by himself, his duo with Georgian viola player Giorgi Zagareli and orchestras/ ensembles such as Georgian Philharmonic Orchestra (Tbilisi), Kluster5 (The Hague), Zagareli String Orchestra and Junge Norddeutsche Philharmonie.

Nuno Lobo

Nuno Lobo (1996) was born in Porto, Portugal. He started studying music at age of 3, at the Instituto Orff do Porto. In 2006, he began studying bassoon at the Academia de Música de Costa Cabral, completing his studies in 2013. Still in 2013, he began studying composition at the Escola Superior de Música, Artes e Espetáculo (ESMAE), in Porto. Nuno studied composition with Carlos Azevedo, Eugénio Amorim and Dimitris Andrikopoulos and 9


completed his Bachelor degree in 2016. In 2015, his piece Time Zero for saxophone quartet was premiered at the SaxOPorto 2015 festival, commissioned by ElleQuartet. In the same year, he received commissions for Encontros Nova Música em Vila do Conde and for RTP/ Antena 2 - Prémio Jovens Músicos. In 2016, his piece Elevador for symphony orchestra was premiered, interpreted by the ESMAE Symphony Orchestra and conducted by Thomas Hauschild. Still in 2016, he received commissions for the 2nd Workshop of Band Conducting with José Eduardo Gomes and for the International Saxophone Conference EuroSax’17 Porto – 2017. In 2017, he was selected for The Times Academy, a co-creation project with the HERMESensemble, in Antwerp. He is currently a member of the project MUDEI (Music, Design and Engineering for Innovation and Internationalisation) and a bassoonist in the FEUP Symphony Orchestra, in the Martial Band of Foz 10

do Douro and in the Instant Ensemble – Ensemble of Real Time Composition in Porto. He is also a founding member of the association Interferência (Association of Intervention in Artistic Practice). At this moment, Nuno is studying with Wim Henderickx and Willem Jeths for his master degree in composition, at the Conservatorium van Amsterdam.

Boris Bezemer

Boris Bezemer’s music strikes a balance between structure and chance, plan and improvisation,

the standing leg and the playing leg: he takes you by surprise. He prefers simple ideas but shapes them with great care with the philosophy that the (sonic) world is makeable. Bezemer aims to create new worlds filled with energy and excitement. At the same time his work may evoke a sense of alienation; especially when there is a focus on the unnatural aspects of sounds or when he brings his music together in strange proportions. Is it a heaven or a hell? After a background in playing guitar and computer programming, Bezemer’s work has taken many shapes, among which electronic music, improvisation with homemade instruments, audiovisual installations, contemporary classical composition from solos to orchestral pieces and opera. Until 2015 Boris Bezemer studied Composition & Music Technology at the HKU University of the Arts Utrecht, where he was presented with the graduation award for best


artistic achievement. He briefly studied composition in Skopje, Macedonia with Darija Andovska and in Huddersfield, UK with Monty Adkins. Afterwards he studied composition at the Conservatory of Amsterdam with Richard Ayres, Jorrit Tamminga and Joël Bons, graduating in 2017.

Kate Honey

Kate Honey (1991) is a composer based in Amsterdam. She studied music at the University of Cambridge, where she

graduated in 2013 with a First in Free Composition and the Arthur Bliss Prize for Composition. Since then she has received composition scholarships and commission funding from the Finzi Trust, the Arts Council of Ireland, the Hinrichsen Foundation and PRSF Women Make Music. Presently she is studying with Richard Ayres and Joël Bons for her master degree in composition at the Conservatorium Van Amsterdam. Her work has been performed at the Southbank Centre, London, the National Concert Hall of Ireland, St Johns Smith Square, and she has been commissioned by Rolf Hind, Peter Sheppard Skaerved, Tom Poster and the Britten Sinfonia. Her latest work Shell Symphony, a composition for Rhythms of Resistance Samba Band and large ensemble was performed in the Nieuw Ensemble’s Omwentelingen-concert in the Muziekgebouw (2017). Shell Symphony took as its subject the ecocidal practices of the oil

company Royal Dutch Shell. It was also performed in a protest context outside the Concertgebouw, to call on the Concertgebouw to drop Shell as a sponsor. Kate’s main concern as a composer is developing an activist artistic practice. To this end, she frequently collaborates with amateur ensembles and choirs in creating music for demonstrations. In her art music, Kate is most interested in the possibilities of harmony in different temperaments, the idea of myth and story-telling in the context of climate change, deep ecology and the Anthropocene, the musical properties of objects within a certain locality, and the psychology of audiovisuality.

Il Hoon Son Il Hoon Son was born in Seoul, South Korea. After he studied composition at the Korea National University of Arts, he came to the Netherlands and studied master degree in music with Cornelis de Bondt and Peter Adriaansz in The Royal Conservatory of The Hague. 11


As a composer in residence, his works have been performed by ensemble Club M in Seoul Arts Center, Yeoleum Son’s music letter in Lotte Concert Hall (South Korea) and he worked together with many other ensembles such as Nieuw Ensemble, Amsterdam Piano Quartet, Neo-fanfare 9x13 and Rotterdam Alexander Kamerkoor with Solisten en een barokensemble van het Koninklijk Conservatorium.

Amsterdam, and more. Son works as an improvisation performer as well on the stage such as Seoul Freemusic Festival, Amsterdam Oorsprong Curator Series together with many of artists. Currently, he is in the Artist Diploma program in the conservatory studying with Rozalie Hirs, Jan van de Putte, and Peter Adriaansz.

James AlexandropoulosMcEwan

His works have been performed on the stage of Gaudeamus Muziekweek in Utrecht, Dag in de Branding in Den Haag, International Organ Festival in Haarlem and Het Orgelpark in 12

James AlexandropoulosMcEwan is a GreekScottish composer whose work moves between contemporary classical, rock and electronic music. His training in music began when he started studying the classical guitar at the age of ten, but he soon started teaching himself the electric guitar and got his first experience of composing music by writing for rock bands, in which he performed around Athens, Greece.

James left Greece at the age of eighteen, and after briefly attending Bennington College in Vermont, U.S.A. where he took various courses in Literature, Music and other subjects, James studied composition at Birmingham Conservatoire under Andrew Hamilton, Riaan Vosloo and Ed Bennett. He graduated with a BMus Composition degree with first-class honours. He was also the winner of the 2016 Birmingham Chamber Music Society Composition Prize, which was adjudicated by Richard Ayres. While studying at Birmingham, James was also part of the Birthday Present ensemble


which he formed with three other classmates and which focused on performances of long duration concerts. He played guitar for the ensemble and composed several new works for the group. He also formed Ethel, a ten-piece ensemble in which he played electric guitar and for which he wrote the forty-minute composition Between Places. The group consisted of a mix of classical and jazz players, and James used several forms of notation that combined throughnotated, improvised and aleatoric elements in various ways. James is currently pursuing an MMus Composition degree at Koninklijk Conservatorium Den Haag, where he studies under Yannis Kyriakides and Guus Janssen. He continues to play electric guitar in his own compositions and compositions of his classmates, as well as in his band Quaich, which is currently based in den Haag. He is still exploring new ways of bridging his loves of classical, rock, and electronic music. His Master Research for the course, titled Movable

Furniture Music: Creating Music of Engageable Ambience explores ways that contemporary classical composition can find a new space in the listening habits of 21st century listeners.

Performers Jorge Luís Castro Bariton

do Porto (Oporto Music Conservatoire), where he graduated on piano and harpsichord. Jorge had his first singing lesson at the age of 17 with Pedro Telles, studying later at Guildhall School of Music and Drama with Susan Waters and now in Conservatorium van Amsterdam with Pierre Mak. He made his professional debut in 2012, 20 years old, in Portugal as Maestro Spinellocchio in Puccini’s Gianni Schicchi for the company Ópera Norte, together with Portuguese and Italian renowned artists. Since then he has been invited to others performances in Portugal, London and Amsterdam, from oratorio to opera.

Ryan Bancroft Jorge Luís Castro is a Portuguese lyrical baritone. He started his musical education at Academia de Música de Lamego (piano), and later he studied at Conservatório de Música

Conductor Hailing from Los Angeles, Ryan Bancroft is a promising conductor on the Dutch scene. He has conducted many orchestras such as the Nederlands Philharmonisch 13


Orkest, BBC Scottish Symphony Orchestra, Prague Symphony Orchestra, Orchestra of the Eighteenth Century, Residentie Orkest, Nieuw Ensemble, Orchestre de Picardie, Groot Omroepkoor, and the BBC Singers. He worked as assistant conductor with Pierre Boulez, Jac van Steen, Ed Spanjaard, Kenneth Montgomery, Richard Egarr, Mark Wigglesworth, Matthias Pintscher, Antony Hermus, and Nicholas Collon.

He earned his BFA and MFA from the California Institute of the Arts in trumpet with studies in harp, flute, Ghanaian music and dance, and ballet as well 14

as receiving a MMus with distinction from the Royal Conservatoire of Scotland in orchestral conducting. He was also active as a trumpet player with the BBC Scottish Symphony Orchestra. He is also a graduate of the prestigious Nationale Master Orkestdirectie through the Conservatorium van Amsterdam and the Koninklijk Conservatorium Den Haag. Ryan is passionately active in the early music scene as well as in the music of today. He has conducted from the harpsichord Henry Purcell’s The Fairy Queen at the California Institute of the Arts and will also assist the upcoming production of Mozart’s La Clemenza di Tito with the Orchestra of the Eighteenth Century led by Kenneth Montgomery. A strong advocate of new music, he has performed with Nieuw Ensemble, assisted Pierre Boulez in a performance of his Sur Incises with the Los Angeles Philharmonic, premiered works by Sofia Goebaidoelina, John Cage, James Tenney, Anne LeBaron, and has worked closely with improvisers such as Wadada Leo Smith and Charlie Haden.

Nieuw Ensemble The Nieuw Ensemble has a unique instrumental structure, using plucked instruments such as mandolin, guitar and harp in combination with wind, string and percussion. The lack of literature for this group makes it as dependent upon composers, as composers have always been upon musicians. The Nieuw Ensemble has thus set out to build its own repertoire, encouraged by continuous contact with composers from different cultures, countries and generations, and longterm workshops for young composers. Since its foundation in 1980, more than seven hundred pieces have been written for the ensemble. Ed Spanjaard has been the principal conductor since 1982. In 1998 the Nieuw Ensemble and its artistic director Joël Bons were awarded the Prince Bernhard Fund Music Prize for their ‘markedly


foto: Kadir van Lohuizen

lively and adventurous programming which can be described as groundbreaking, both in the literal and figurative senses of the word’. The ensemble introduced a large number of non-Western composers in premiere programmes focussing on Japan, the Caucasus, the Middle East and Central and South America. Other highly successful programmes have

been those dedicated to the work of a single composer, such as Berio, Boulez, Carter, Donatoni, Ferneyhough, Kagel, De Leeuw, Ligeti, KurtĂĄg, Loevendie and Nono.



Ligeti Festival Za 24 feb 2018 Grote Zaal 20.15 uur

Warm-Up Ligeti Festival

Met o.a. Pierre-Laurent Aimard en Reinbert de Leeuw Componist György Ligeti (1923-2006) hoort thuis in het selecte rijtje van de allergrootste 20e-eeuwse componisten als Bela Bartók en Igor Stravinsky. Zonder het te beseffen kennen veel mensen zijn muziek al van beroemde films als 2001 A Space Oddysey en The Shining. Als opmaat en smaakmaker voor het Ligeti Festival (5 t/m 8 april) vormt deze 1,5 uur durende talkshow mét live muziek de perfecte kennismaking met een van de meest fascinerende componisten van de 20e eeuw. Te gast zijn meesterpianist Pierre-Laurent Aimard en dirigent Reinbert de Leeuw. Weinigen hadden zo’n nauwe band met Ligeti als deze twee. Wat fascineert hen zo in zijn muziek? En wat voor een mens was Ligeti? Dat horen we van Aimard en De Leeuw. Daarnaast laten Aimard, het Dudok Quartet Amsterdam en violist Joseph Puglia in enkele sleutelwerken van Ligeti horen hoe fantastisch zijn muziek is.

György Ligeti foto: Schott Promotion-H.J. Kropp

Let op: deze avond is (deels) in het Engels

Programma: György Ligeti Fragmenten uit Vioolconcert (Joseph Puglia) / Delen 1, 5 en 7 uit Musica ricercata (Pierre-Laurent Aimard) / Etudes nr. 3 ‘Touches bloquées’, nr. 8 ‘Fém’ en nr. 10 ‘Der Zauberlehrling’ (Pierre-Laurent Aimard) / Strijkkwartet nr. 2 (Dudok Quartet Amsterdam) 16

Ligeti Festival mede mogelijk gemaakt door:


Donderdag avondserie Do 29 mrt 2018 Grote Zaal 20.15 uur

Nieuw Ensemble Thirty Situations Een hoogtepunt van de Cello Biënnale 2016 was de première van Nomaden van Joël Bons door cellist JeanGuihen Queyras en het Atlas Ensemble. Het stuk werd als ‘meesterwerk’ en ‘ontroerend’ onthaald. En dirigent Ed Spanjaard noemde het ‘een van de indrukwekkendste premières sinds 2000’. Het bracht Spanjaard op het idee om Bons te vragen opnieuw een avondvullend werk te componeren. Thirty Situations heeft als onderwerp het contrast tussen fragmentatie en continuïteit. Voortdurend ervaren we het leven als fragmentarisch en toch is het een doorgaande stroom. Zo zal het stuk zowel een aaneenschakeling van fragmentarische elementen als één groot continuum zijn – een mozaïek van allerlei ‘situaties’ in afwisselende muzieken. Het nieuwe werk is op het lijf geschreven van de musici van het Nieuw Ensemble en een aantal solisten, onder wie sopraan Keren Motseri en jazzdrummer Tristan Renfrow. Ruimtelijke elektronica verrijken het klankbeeld.

Joël Bons

Programma: Joël Bons Thirty Situations (wereldpremière)



Februari vr 16 feb / 20.15 uur Amsterdam Sinfonietta + Fazil Say After Wagner za 17 feb / 14.15 uur De IJ-Salon 3x Serenade za 17 feb / 20.15 uur Angelika Kirchschlager + James Sherlock Geliefde liederen van Schubert, Schumann en Brahms

do 22 feb / 20.15 uur Asko|Schönberg Zappa’s playlist

do 1 mrt / 20.15 uur New European Ensemble Debussy Caleidoscoop

vr 23 feb / 20.15 uur Blackmail (1929) - Alfred Hitchcock Metropole Orkest

vr 2 mrt / 19.00 uur Cross-linx Hooverphonic & Residentie Orkest, Joep Beving & Maarten Vos & Cappella Amsterdam, Poliça, Stargaze, This is the Kit, Wooden Elephant, Yenga, Intergalactic Lovers, Daniel Wohl, Daniel Brandt & Eternal Something, Brendan Faegre, Alistair Sung, Wouter DeWit, VONK, TEMKO extended, Neo-Fanfare 9x13

za 24 feb / 20.15 uur Warm-Up Ligeti Festival Met o.a. Pierre-Laurent Aimard en Reinbert de Leeuw zo 25 feb / 11.00 uur Anne Veinberg + Ere Lievonen + Ernestine Stoop Fokker versus Carrillo

zo 18 feb / 15.00 uur Dominique Vleeshouwers Wat is het geheim van slagwerk? (8+)

zo 25 feb / 15.00 uur Sweelinck Barokorkest Bekoring

ma 19 feb / 20.30 uur / Kleine Zaal Circuit des Yeux + TALsounds Reaching for Indigo

wo 28 feb / 20.15 uur Cappella Amsterdam + Endrik Üksvärav Baltische zielen | Carte Blanche voor Endrik Üksvärav

di 20 feb / 20.15 uur Rosanne Philippens + gastmusici Dedications


wo 21 feb / 20.15 uur Calefax Bachs Geschenk 18

do 1 mrt / 12.30 uur Lunchconcert Ism Nationaal Muziekinstrumenten Fonds

Huil van de Wolff Elke 22e van de maand klinkt om 20.00 uur het geluidsmonument Huil van de Wolff. Martijn Padding componeerde deze interactieve geluidsinstallatie ter herinnering aan oprichter van het Muziekgebouw Jan Wolff (1941 - 2012). Zie voor meer informatie huilvandewolff Geheimtips Bijzondere concerten

Foto: Erik van Gurp

Restaurant Zouthaven Kom voor het concert eten in restaurant Zouthaven. Reserveren: 020 788 2090 of

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Druk binnenwerk


2018 02 15 Nieuw Ensemble  
2018 02 15 Nieuw Ensemble