#fieschouten — Public Fediverse posts

Bass clarinettist Fie Schouten: ‘We must not control nature but give it room’

Fie Schouten studied with bass clarinettist Harry Sparnaay and follows in his footsteps as an advocate of contemporary music. She organizes the biannual Bass Clarinet Festival and the monthly series Nieuwe Noten Amsterdam. She recently released the CD Nature, with six contemporary compositions.

Already as a child Fie Schouten was attracted to the bass clarinet: ‘At the Amstelveen music school I played the clarinet in a wind ensemble. When I heard an older student playing the bass clarinet I was immediately hooked: I want that too! I love its low sound and wide range, which makes it very versatile: you can take a bass function, but also play the melody; operate in the background, but also take the lead. In this I feel related to musicians who play cello, bassoon or trombone.’

While studying clarinet at the Amsterdam Conservatoire, she heard there was also a bass clarinet teacher, Harry Sparnaay. ‘He specialized in contemporary music, but his class included students with backgrounds in both classical and jazz. He was particularly focused on the musician’s attitude and emphasized that you must always start from what the composer – or a composition – wants to say. As important to him was the question of what you yourself want to convey. After all, you are on stage and must have something to say to your audience. I compare it to reading a story to your children: of course you reproduce someone else’s text, but you put your own accents, in a way you make it your own story.’

With Sparnaay she shares her enthusiasm for contemporary music, following in his footsteps as an ardent advocate. By now over a hundred pieces have been composed for her. How does she decide who to ask? ‘I like variety. Sometimes I ask a Dutch composer, sometimes I feel more like inviting an Englishman, or prefer to have a new piece from a young talent, a contemporary, or an older, established name. As long as I expect them to make something meaningful.’

This may turn out better or worse, which makes it difficult to name favourites: ‘I love the solo Article 7, seven ways to climb a mountain for bass clarinet solo by Rozalie Hirs, but for the last Bass Clarinet Festival Ruud Roelofsen wrote a trio that I think is at least as beautiful. In October I picked up again Jorrit Dijkstra’s duo Veeg (Sweep) with flutist Karina Erhard, part of which calls for improvisation. We’re much better at that now than we were back in 2004 when he composed it, so it was great to play it again!’

She regularly performs in duets, trios and quartets with other musicians and as a substitute with ensembles such as Musikfabrik and Asko|Schönberg. It would make any random person dizzy, but not Schouten. ‘By working with different instrumentalists and singers you appeal to disparate aspects of your personality, which is enriching.’

Schouten occasionally shares the stage with her husband, the reed player and composer Tobias Klein. ‘We met in Harry Sparnaay’s class and have been together for 21 years now; we have two lovely children, aged 11 and 15.’ In 2014 they initiated the first Bass Clarinet Festival, in honour of Harry Sparnaay’s 70th birthday. To celebrate this, Klein composed Too Dark to Read for 7 clarinets and 3 bass clarinets, one of them played by Sparnaay himself.

How did Sparnaay react? Schouten laughs: ‘Actually, the idea came from Harry himself! In 2012 we gave a concert with eight bass clarinets in the Bethaniënklooster in Amsterdam. He then joked: Guys, I’ll be seventy in two years, will you throw me a party? Well, we took up the gauntlet. Harry enjoyed himself intensely and especially enjoyed performing along with his former students

The first Bass Clarinet Festival was remarkably ambitious straightaway, with concerts all over the country, masterclasses, bass clarinet days and more. Since then it has grown into a biennial event. The fourth edition fell largely victim to corona, but precisely on November 3, the night the Government declared a new lockdown, Schouten presented her CD Nature, with six pieces by contemporary composers, two of which were composed for her.

The subject is rather charged today: nitrogen crisis, rising sea levels, insect plagues and a global pandemic threaten life on earth. Should we interpret the CD as a political statement? ‘Not directly,’ says Schouten. ‘The idea arose during a series of lectures on music and nature, at the end of which I always performed a piece live.’

‘My association with nature is mainly that something is not artificial but free, natural. It also means: wonder, concentration, having respect for what others make and for what is already there. In a way, the title is a call to be patient, to listen to the music without judgment. Just like you should respect nature, not try to control it, but give it room.  I am dismayed to see how the few remaining empty spaces are swallowed up by construction projects.’

So the six pieces were not chosen from an activist point of view. In the CD booklet she writes: ‘With each track the gaze goes further up: from the sea to the birds in the sky, to the cirrus clouds, to the moon and finally to the stars.’ The album opens with Calling for bass clarinet solo by Calliope Tsoupaki. ‘Calliope composed it for me in 2015. I have performed it many times and have come to love it very much. It is lyrical, has a beautiful form and yet is very free. It is a personal lamento, in which looking out over the sea and the waves plays an important role.’

Next comes ‘Abîme des oiseaux’, the clarinet solo from Olivier Messiaen’s famous Quatuor pour la fin du temps. Schouten does not play this on the regular b-flat clarinet, but on a basset horn. ‘It’s a beautiful and important work for clarinettists in which birds make themselves heard loud and clear. It has been recorded many times, so I chose the basset horn, which conveys the desolate atmosphere even better because of its sonorous yet agile sound.’

Cirrus Light by Jonathan Harvey is very dear to her: ‘He was a special and spiritual person, I met him in 2002. He wrote this solo for clarinet in the last summer of his life, when he was already in a wheelchair, looking at the clouds that drifted by high and slow like wisps. It has not been recorded before, I hope now more clarinettists will pick it up.’

With Oi Kuu for bass clarinet and cello by Kaija Saariaho we travel further to the moon. ‘The Finnish title means something like “for the moon”. I first played it together with Eva van de Poll in 2001, but 20 years later we understand the piece and each other much better, so we decided to record our present interpretation. The flageolets in the cello and the multiphonics of the clarinet create a somewhat dreamy atmosphere, like mists before the moon.’

Following this duo is Façade Trio by French composer Georges Aperghis. ‘It is a theatrical piece for two bass clarinets and percussion that has rarely been performed after its premiere in 1998. The musicians are arranged in a triangle, like the points of a constellation. The percussionist stands in the centre with two kick drums, and is flanked left and right by the two bass clarinettists. Their part moves from the lowest to the very highest regions. Together with the percussion, this creates a wonderful spectrum of sounds, expressive and unpredictable.’

Once Schouten had arrived in the galaxy, she felt the journey was not yet complete. ‘The five pieces form a nice coherent whole, but I felt that something was missing. I decided to add a bonus track and called Michael Finnissy. He had composed a quartet for the 2018 Bass Clarinet Festival in which two bass clarinets engage in a kind of conversation, like two monks chanting to each other.’ ‘

Those recitative-like lines appealed to me, and I asked Michael to create something small on the theme of nature. He wrote the 3-minute Mankind Remix, a contemplative piece that reflects on the previous; it fits perfectly after Aperghis’ exuberant trio – and to my character. I love to be expressive, but then I need reflection. After Mankind Remix I could start all over again at once with the first piece on the CD, it comes full circle.’

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#CalliopeTsoupaki #FieSchouten #GeorgesAperghis #HarrySparnaay #JonathanHarvey #KaijaSaariaho #MichaelFinnissy #OlivierMessiaen #TobiasKlein

Composer Hanna Kulenty: ‘I assemble emotions’

The Polish-Dutch Hanna Kulenty (Białystok, 1961) writes music that gets under your skin. Whether it concerns early works such as Fourth Circle for violin and piano (1994), the opera Mother of Black-Winged Dreams on the multiple personality syndrome (1995), or more recent compositions such as the Viola Concerto (2015) and her Flute Concerto No.3 (2018), you are irrevocably carried along on an exciting journey with inescapable emotional power.

For the upcoming Bass clarinet festival of Fie Schouten she composed Tap-Blow-Dance4, for two bass clarinets, cello and vibraphone. It will be premiered on 3 November in Grand Theatre Groningen.

I got to know Hanna Kulenty and her work in the 90’s, when I studied musicology at the University of Amsterdam. Because female composers were totally ignored at the institute, I went looking for them myself. That proved to be no sinecure, but thanks to the few CD’s and concerts that were available I discovered an incredible amount of beautiful music. Since then I have championed women composers through all channels that were available.

Crushing

A first opportunity arose when I started as a reporter and presenter of the Concertzender’s Radio-Dinner in 1994. For this programme on current music affairs I interviewed many female musicians and composers, whether or not live in the studio. Among them was also Kulenty who I spoke on 4 December 1996 about her opera The Mother of Black-Winged Dreams. The world premiere took place in Munich four days after. – Only twenty years later (!) it was performed in the Netherlands for the first time. (I wrote about this for my Dutch blog.) Since then Kulenty has become a fixture in Dutch and international musical life.

However, she is not the type to rest on her laurels, and she continues to look for new ways. But whatever methods of composition Kulenty employs, a constant remains the crushing intensity, which grips you by the throat. The premiere of Tap-Blow-Dance4 on November 3rd at the Grand Theatre in Groningen is something to look forward to. At this concert her overwhelming Arcus for three percussionists will also be performed. I interviewed Kulenty about her new piece for the magazine De Klarinet.

Handwritten score

‘The ink is still wet.’ It’s a common cliché when a world premiere is announced, even though today most compositions are supplied as computer files. In the case of Hanna Kulenty, however, we must take the statement literally: unlike many of her colleagues, she still writes her music by hand. At the time of our interview (towards the end of August) she has just put the last notes of Tap-Blow-Dance4 to paper. It is up to a copyist to translate her resolute but fiddly handwriting into a printed score that is legible for musicians.

Enthusiastically she tells me that she composed the piece according to her technique of ‘musique surréalistique’, developed in recent years. – Which is also the title of a composition for soprano, clarinet and piano from 2018. She used to compose in arches of recurring, ever more intense patterns, but nowadays she concentrates on the relation between time and space. ‘This has always played a role, of course’, she say, ‘but now I strive for a more perfect form.’

Musique surréalistique

Exactly how we are to understand the term ‘musique surréalistique’ is not easily put into words, as it turns out. ‘For me it is always about emotion, in that sense every new piece is a regrouping of emotions. A collage if you like. I feel intuitively what I want to say but nowadays intuition plays a less important role when composing. I’m still averse to preconceived compositional techniques, but I no longer mind rubbing up against conventions. I make use of traditional elements, but use them as I see fit.’

‘Of course the musical form is partly determined by musical parameters like proportion, balance and the like, but musique surréalistique goes further than that. It is a way of juxtaposing sound and time structures in such a way that the whole work gets a new atmosphere.’ As before, she strives to create a trance, but now the emphasis is more on the spiritual aspect. ‘I write from the realization that we are hurt beings, who nevertheless can rise above ourselves, because there is something greater than human strength.’

Can music liberate us through trance? ‘Yes, it can make us aware of something we actually know deep inside, namely that despite all the differences there is unity in diversity.’ She compares it with reading a book: ‘While reading you develop an expectation pattern. You think you know what is going to come, but are suddenly confronted with a twist that places the whole thing in a different perspective. The expected emotion can take a different form each time: it can stop, turn around, transform or remain the same. That constant tension brings you into a trance. It also occurs in Tap-Blow-Dance4.’

‘The piece will last about 10 to 12 minutes. It is written in an almost impossible tempo and consists of endless cascades of mainly descending – sometimes also ascending – figurations of the two bass clarinets and the vibraphone. The cello acts as a driving motor in the underground. The music is fast as lightning and forms one big sequence of seemingly aggressive emotions.’

Colliding worlds

‘Because of the structured build-up, you expect this motoric rhythm to continue. But then suddenly a sad melody sounds and two musical worlds collide. From that moment on, a delay sets in. The music even seems to come to a standstill, but that doesn’t happen, it “freezes”, time is stopped for a moment. The tragic motif never sounds in full, so that your expectation is partly, but never one hundred percent, honoured. You simply don’t know when which emotion will return and in what form. So the piece is always different and unexpected in its emotional “expectedness”.’

Initially the title was Underwater. ‘When in 2019 Fie Schouten asked me to write a piece for two bass clarinets, vibraphone and cello, I wondered how I could realize my ideas of musique surréalistique in this line-up. I immediately thought of water. Water offers a space that can flood us, but in which we can also immerse ourselves. Colours become brighter under water, movements slow down and sounds are muffled. At the same time contours and details are enlarged until they take on almost inhuman shapes.’ – The latter is in line with the murderous tempo: both bass clarinet players have to play motifs so fast that you get substitute cramps in your lips.

Playing while tap-dancing

The definite title refers to Tap-Blow-Dance, a solo piece she previously composed for her son, who is a trumpeter. ‘I wanted to create the same climate, with a great emphasis on rhythm.’ Kulenty asks a lot of her performers. Not only must they play their challenging, quickly repeating notes, but they are also required to tap their feet, in a strictly prescribed rhythm. Sometimes all four musicians tap simultaneously without playing, then the music consists purely of the clicking of heels.’

The clarinettists are instructed to play staccato ‘if possible’. Regularly they must produce a percussive sound with a strongly blown tone. The vibraphone usually teams up with the wind instruments, only occasionally with the cello. The cellist is instructed to play the many double stops on two strings, ‘as good as possible’. About halfway through, the second bass clarinet introduces the lamento motif, which keeps returning at irregular intervals and in slightly changing forms. At the end the first bass clarinettist plays it in an ever slower tempo, in a random number of repetitions of their own choice.

Kulenty concludes: ‘Together the four musicians form one swirling organism.’

#Concertzender #FieSchouten #HannaKulenty #TapBlowDance4 #TheMotherOfBlackWingedDreams

Aspasia Nasopoulou: ‘If the doors for new music don’t open quickly enough, we have to knock harder!’

The Greek/Dutch composer Aspasia Nasopoulou (Athens, 1972) was appointed as the new artistic leader of orkest de ereprijs. Though she has lived in the Netherlands for a long time, she is not as well known to the general public as her compatriot Calliope Tsoupaki. But in new music circles she has made a name for herself as a composer of adventurous, interdisciplinary pieces.

Such as Lelia Doura in which she succeeded in translating the atmosphere of a troubadour song into a lively score for the Dutch recorder quintet Seldom Sene, released on cd in 2014. Another remarkable work is Nachtwerk in which Nasopoulou combines poems written and recited by Micha Hamel with music for the Doelen String Quartet. Reviewing these works in 2015 I wrote: ‘We’ll certainly hear more of Aspasia Nasopoulou.’

In 2016 she composed the ambitious Ten Dipoles, again for recorder quintet Seldom Sene. In ten sparkling miniatures Nasopoulou captures as many pairs of opposites (‘dipoles’) that in pre-Aristotelian theory form the basic principle of all elements. For instance, ‘good-bad’; ‘straight-bent’ and ‘left-right’.

Apart from using an impressive array of recorders – ranging from the highest baroque sopranino to the lowest possible modern sub-contrabass – she combines the instruments with ten free aerophones developed by Horst Rickels and Ernst Dullemond.

These aerophones not only add a pleasant visual aspect to a performance, but also provide extra sound possibilities. They mainly act like a chorus, their sounds being triggered by pedals operated by the musicians. At other times though, they perform as individual ‘players’, engaging in conversation or vying for attention with their live counterparts. Hilarious are the sudden twittering birds or mooing cow that interrupt their argument.

In  somewhat less than half an hour Ten Dipoles creates a fascinating world full of unusual and intriguing sounds. Particularly striking is the opposite ‘male-female’ (nr. 4). This has a harrowing effect because the recorders use three different tunings (A=415 Hertz, A=440 Hertz and A=466 Hertz). No wonder Seldom Sene placed this beguiling piece first on their recent cd Not a Single Road.

Concert organizer

But Nasopoulou’s field of work expands beyond composition. From 2006-2009 she co-organized and moderated two series of workshops in Huize Gaudeamus, Bilthoven: ‘The Composer’ and ‘The Performer’. In 2016 she initiated ‘Composer’s treat’ in which composers are offered a working week at de Buitenplaats, Starnmeerdijk. This residency is concluded with a presentation open for the public.

This September she started the concert series Nieuwe Noten Amsterdam, together with clarinetist Fie Schouten. Taking on the artistic leadership of orkest de ereprijs thus seems a logical next step. I asked her about her relationship with this ensemble and about her plans for the future.

When and how did you first get to know orkest de ereprijs?

I met Wim Boerman and de ereprijs in 2007 when I was asked to join the committee of a composition competition for high school students. I admire the fervour and dedication with which they bring across the intentions of each new composition, and I very much like the potential of their sound.

I moreover appreciate their continuous curiosity, their engagement with the creation of new music, their support of different generations of composers of today, and their very active involvement in music education.

Internationally renowned is their yearly Young Composers’ Meeting, a competition for aspiring talents initiated in 1995. This gives a positive stimulance to the careers of the participants, creativity being stimulated by providing free space for budding composers. De ereprijs is an important motor in Dutch contemporary music life.

As artistic director you will tread in Wim Boermans’ footsteps. Will you take a different course? 

Wim Boerman will be the artistic director and conductor until the end of 2020 and I’m happy that during this period he will be close to the process of planning the next steps of the orchestra. I admire his curiosity and originality, bringing music of today closer to the audience without pretention, with dedication and persistence.

There are already many ideas that we will develop in the coming months. I strive for continuity and hope to further explore the connections between different artistic disciplines and different cultures. Here I see possibilities for international exchanges, but I can’t as yet predict how these will actually take shape.

The particular line-up of the ensemble with its focus on wind instruments has over the past 40 years lead to a wealth of surprising and powerful compositions. We will continue the open dialogue within the orchestra, and composers of today will keep playing an active role. Also it’s my intention to maintain and tighten the bond with educational institutes. Music is very important for young people, for it has connecting capacities and can bridge ideas, identities and cultures.

Will the ‘Orchestra of the 21st Century’ stay on? This was a joint venture with Gelders Orkest that recently merged with Orkest van het Oosten into Phion. 

The Orchestra of the 21st Century will definitely keep playing new exciting repertoire for extended instrumentations. Also we intend to expand the collaborations, for instance with the National Youth Orchestra and ArtEZ Conservatory.

What are the main challenges you expect to face?

As always it remains difficult to finance new music. If you can show that new music has a meaning for today probably new doors will open. If they don’t open quickly enough we’ll have to knock harder!

#AspasiaNasopoulou #FieSchouten #MichaHamel #orkestDeEreprijs #SeldomSene #WimBoerman

Canto general Peter Schat in #PanoramadeLeeuw XVI

In alweer de zestiende aflevering van #PanoramadeLeeuw op 3 februari, draaide ik de integrale uitvoering van Canto general van Peter Schat. Deze protestcyclus op een tekst van Pablo Neruda over de moord op president Salvador Allende in 1973 is helaas zelden op de radio te horen, en nog minder in de concertzaal. Reinbert de Leeuw speelde dit politiek geladen stuk vele malen, samen met de violiste Vera Beths en de mezzosopraan Lucia Meeuwsen.

Toch zegt hij hierover in mijn biografie Reinbert de Leeuw, mens of melodie:

‘Ik heb nooit iets gezien in het radicalisme van Louis en Peter: we moeten de wijken in om het volk te verheffen. Dan speelden we Canto general in een tentje in Bos en Lommer, Vera Beths op een Stradivarius, ik op een aftands pianootje. Zodra Lucia Meeuwsen ging zingen, lieten nozems hun brommers keihard knetteren, dat sloeg nergens op.’

Gelukkig hadden de luisteraars geen last van knetterende brommers en ik kreeg veel positieve reacties op mijn uitzending.

Pierre Boulez in zijn jonge jaren

Op 5 januari overleed Pierre Boulez, wiens 90e verjaardag in december nog uitbundig was gevierd door het Insomnio Ensemble. Hoewel het een aangekondigde dood was, kwam het bericht toch als een schok: met Boulez stierf de laatste grote avant-gardist. Ik schreef een in memoriam voor Cultuurpers, waarin ik ook een link opnam naar mijn gesprek met Werner Klüppelholz van maart 2015. Ik hoop nog tijd te vinden mijn eigen interviews met Boulez online te plaatsen.

Vrolijker nieuws kwam er van het Britten Jeugd Strijkorkest, dat ook dit jaar weer een prachtige cd uitbracht, met een ontroerende vertolking van de liederencyclus Les illuminations van naamgever Benjamin Britten. Ook hierover schreef ik voor Cultuurpers.

Ik sprak hiervoor ook met de basklarinettiste Fie Schouten, die in Berlijn op bezoek ging bij Ursula Mamlok (1923). Zij is net als Boulez een avant-gardistische componist, maar is minder dogmatisch en leefde lange tijd in de Verenigde Staten, wat wellicht verklaart dat zij relatief onbekend is. Op haar 92e is zij nog alive and kicking, en haar muziek weet ondanks de rekenkundige uitgangspunten altijd te raken; zij daarom meer aandacht. Meer over haar lees je in mijn interview.

Afgelopen maand, op 14 januari, verzorgde ik alweer de laatste les in mijn vierdelige cursus hedendaagse muziek in het Muziekgebouw aan ‘t IJ, dit keer gewijd aan dansmuziek. Verrassend hoeveel ‘serieuze’ componisten – denk aan Schönberg, Copland, Clementi, Rihm – zich lieten inspireren door wals of foxtrot. Het Ives Ensemble gaf een aanstekelijk concert onder de titel What a Ball!

Mutu met bestuur. Hilde Kaizer, klarinet; Elisendra Pujals, zang; Mei-Yi Lee, slagwerk; Thea Derks, bestuurslid; Víctor Belmonte Albert, trombone; Vanessa Lann en Caroline Bakker, bestuursleden. Foto gemaakt door elektronicus/componist Yota Morimoto

Een dag later stond een vergadering gepland van het jonge Mutu Ensemble, waarvan ik bestuurslid ben, samen met Caroline Bakker en Vanessa Lann. De musici hebben gekozen voor een bijzondere line-up van stemmen, fluit, klarinet, trombone, slagwerk, cello en elektronica.

Zowel de twee zangeressen als de elektronica vormen een vast onderdeel van elke compositie en treden niet per se solistisch op de voorgrond. Samen met oprichter Sandra Pujols (dans/zang) streeft het ensemble ernaar multidisciplinaire voorstellingen te maken waarin genoteerde muziek, improvisatie hand in hand gaan met andere kunstvormen, met name dans. Op dit filmpje zie je Mutu in actie:

Januari was ook de maand van de negende aflevering van het Storioni Festival, georganiseerd door de drie musici van het Storioni Trio in verschillende steden in Brabant, maar op 21 januari afgetrapt in het Amsterdamse Muziekgebouw aan ‘t IJ. Dit jaar stond het evenement in het teken van de 500-jarige geboortedag van Jeroen Bosch, wiens Tuin der lusten verschillende componisten inspireerde tot het schrijven van nieuwe stukken. Onder wie Vanessa Lann. Ik sprak erover met de violist Wouter Vossen.

Eregast was dit jaar de Pool Krzysztof Penderecki, die ooit de wereld veroverde met zijn schrijnend dissonante Klaagzang voor de slachtoffers van Hiroshima, maar tegenwoordig mildere muziek componeert en zich concentreert op kamermuziek.  Ik schreef erover voor Cultuurpers en zette een deel van ons gesprek op Youtube. Het toeval wil, dat zijn muziek op 29 januari ook werd uitgevoerd door het Groot Omroepkoor in het Avrotros Avondconcert in TivoliVredenburg. Ik verzorgde de inleiding en sprak met de dirigent Kaspars Putnins.

Bijzonder voor mij was ook het interview met de Zwitsers-Oostenrijkse componist Beat Furrer voor Cultuurpers. Asko|Schönberg plaatste op donderdag 4 februari zijn desolate maar poëtische klankwereld samen op het programma met een ensembleversie van de hyper romantische Vierde Symfonie van Mahler. Minder gewaagd dan het lijkt, want Furrer bereikt met andere middelen een vergelijkbare zeggingskracht als zijn illustere voorganger.

Het concert zelf kon ik helaas niet bijwonen, vanwege mijn lezing voor de vrienden van Huize Gaudeamus in Bilthoven. Dat was echter bepaald geen straf: alleen al de historische locatie is zó ongelooflijk sfeervol dat je niets liever zou willen dan je koffertje pakken en er voor altijd blijven. In mijn biografie van Reinbert de Leeuw heb ik uitvoerig aandacht besteed aan Gaudeamus, waar de ontwikkeling van de hedendaagse muziek dankzij Walter Maas een hoge vlucht heeft genomen. Na de oorlog groeide Gaudeamus uit tot hét ontmoetingscentrum voor jonge musici en componisten.

Huize Gaudeamus

In de prachtig gerestaureerde villa is de deze geschiedenis bijna tastbaar aanwezig. Het was alsof ik, samen met het zeer aandachtige en toegewijde publiek ineens in mijn eigen boek was beland. Temeer daar administrateur Pascal Rijnders mijn verhaal met persoonlijke herinneringen kon aanvullen. Het was een eer om mijn Reinbertlezing op deze locatie en voor dit publiek te mogen geven. Ik koester de herinnering.

Huize Gaudeamus, 4-2-2016

#AskoSchönberg #BeatFurrer #BenjaminBritten #BrittenJeugdStrijkorkest #CantoGeneral #CarolineBakker #Concertzender #FieSchouten #HuizeGaudeamus #KasparsPutnins #KrzysztofPenderecki #LuciaMeeuwsen #MensOfMelodie #MutuEnsemble #PanoramaDeLeeuw #PanoramadeLeeuw #PascalRijnders #PeterSchat #PierreBoulez #ReinbertDeLeeuw #StorioniFestival #TheaDerks #UrsulaMamlok #VanessaLann #VeraBeths #WalterMaas #WouterVossen