Reflections on an Inspiring Week

Reflections on an Inspiring Week

Being part of events like the Tertis and Aronowitz competitions is such a special experience. It’s more than just hearing beautiful music—it’s about seeing how much work and passion young musicians put into their craft. Watching them grow, perform, and share their love for music is inspiring and fills me with hope for the future.

As a teacher, it reminds me how important it is to guide and support students on their journey. It’s not just about helping them play their instrument but also about encouraging them to find their own voice and build confidence. Each lesson, talk, or rehearsal is a chance to make a difference, and I feel so lucky to be part of that process.

This week has also brought me back to my own love for the viola and its wonderful music. Hearing these performances and being surrounded by such passion has given me so much energy and new ideas. I feel ready to start writing again and to explore more of what this amazing instrument has to offer.

The viola has always been more than just an instrument to me—it’s a way to express so many emotions and stories. Weeks like this remind me why I love it so much and why I want to keep sharing that love with others.

Thank you all!

Webber’s Sonatina

Review of William Lloyd Webber’s Sonatina for Viola and Piano

Today, Lauretta Bloomer and I had the pleasure of playing one of the shortest viola sonatas I know: William Lloyd Webber’s Sonatina for Viola and Piano.

This sonatina is a must for all viola students. It’s a joy to practice for both violists and pianists and would be an excellent choice for competitions. The interplay between the two instruments is delightful, making the collaborative process especially rewarding.

William Lloyd Webber, father of two of the most renowned composers in musical history, Andrew and Julian Lloyd Webber, was often asked why the sonata is so short. His answer was simple yet profound: “You should never say more than there is to say.” This philosophy is evident throughout the piece, as every note feels deliberate and meaningful.

The first movement is a beautiful and concise journey, almost like a single extended phrase. It begins with the gentle rise of a sun, capturing the serenity and warmth of a perfect day. By the end of the movement, one feels as though the day has come to a peaceful close, eyes shut, and a smile on the face. My personal favorite moment is in measure 22, with the piano’s entrance on the upbeat, seamlessly joining the viola’s line. The conclusion of this movement is particularly striking—its climax arrives just eight bars before the end, only to fade out gracefully in the final moments. It’s a masterful demonstration of how to create impact within a compact form.

The second movement, played with a mute on the viola, offers a contrasting character. It’s not somber but warmly introspective, enriched by the piano’s lush harmonies—Lauretta’s favorite feature of the piece. The dotted triplet figures in the viola, ascending delicately, evoke a fluttering heart, adding a sense of gentle excitement. This movement is predominantly upward-moving in its lines, symbolizing an uplifting and hopeful emotion. Only in the final solo line of the viola do we feel the transition, leading seamlessly into the last movement.

The third movement immediately reminded both Lauretta and me of Prokofiev, especially the character of Julia from his Romeo and Julietsuite. This innocent and playful feeling, like that of a young girl, defines the mood of the entire movement. The challenge lies in capturing this lightness at a brisk tempo. For me, the pizzicato passage presents a particular bottleneck—I might need to slightly adjust the tempo for those few bars to maintain clarity.

While Lauretta and I are still working on mastering the piece, we thoroughly enjoyed playing it today. This sonata is a charming work that perfectly balances simplicity with expressive depth, leaving both performers and audiences captivated.

January 7th 2025

Berkeley – Sonata

Review of Lennox Berkeley’s Viola Sonata in D minor, Op. 22

Lennox Berkeley’s Sonata for Viola and Piano, composed in 1945-46, is a remarkable addition to the viola repertoire. Today, I had the pleasure of playing this sonata with pianist Lauretta Bloomer in her charming home in Sliedrecht. The sonata is a perfect piece for advanced conservatory students, offering challenges in both technical execution and emotional expression.

The first movement, marked Allegro ma non troppo, is striking in its balance of vigor and lyrical depth. The marking non troppo seems to influence the character rather than tempo, especially when thinking of the piece in one. A sudden Tranquillo passage comes as a delightful surprise, highlighting Berkeley’s sensitivity to character shifts. The character indications throughout this movement make it especially rewarding for performers who enjoy exploring tonal colors and moods. Notably, this movement is significantly longer than the other two, giving it a weighty presence.

The second movementAdagio, is hauntingly beautiful, with long, expansive phrases that demand careful attention to phrasing and color. The sharp rhythms of the 32nd notes at the end of the long notes are crucial to capturing the movement’s solemn, almost funereal atmosphere. There’s a sense of deep introspection here—a challenge lies in broadening the phrases to maintain their meditative quality without losing the tension beneath.

The third movementAllegro, shifts to a lively and buoyant character. Its folk-inspired dance feeling, driven by the interplay between 6/8 and 4/8 time signatures, makes it particularly enjoyable to perform. This finale has an infectious energy that brings the sonata to a satisfying conclusion. The rhythmic intricacies and vibrant spirit make it a true celebration of the viola’s versatility.

The sonata has a total duration of approximately 17 minutes, making it a perfect piece for the first half of a recital. Berkeley’s writing is idiomatic for both instruments, with the piano and viola engaging in an elegant partnership throughout. It’s a work that demands not only technical skill but also a nuanced understanding of tone and character, rewarding performers who bring a wide palette of emotions to the table.

In summary, Berkeley’s Viola Sonata is a compelling and emotionally rich work. Whether as a recital centerpiece or part of a program, it offers both performers and audiences a meaningful and colorful musical journey.

7th of January 2025

New Compositions Published:

Three Golden Hairs and Four Seasons

I’m thrilled to share that my compositions, Three Golden Hairs for solo viola and Four Seasons for clarinet and viola, have just arrived from the publisher! These pieces mark an exciting new step in my journey as a composer, and it’s incredibly fulfilling to see them beautifully printed, thanks to Viola Viva’s dedication to quality.

These works are now available for purchase both as printed scores and in digital format. Visit Viola Viva to explore these pieces and bring them to your music stand.

Thank you for supporting my journey into composition—I’m excited to see where this path will lead and to continue creating for the viola community and beyond!

Codarts projectweek

21 – 25 of October 2024

Garth Knox

This week, Codarts Rotterdam is hosting its annual project week, designed to immerse students in new and innovative areas of music. One of the highlights of this year’s program is the visit of renowned violist and composer Garth Knox. A prominent figure in contemporary music, Knox is known for his boundary-pushing work as both a performer and a composer. Over the next two days, Knox will be giving a series of lectures, workshops, and masterclasses, sharing his vast experience with the students.

Garth Knox’s background as a former member of the Arditti Quartet and Ensemble InterContemporain places him at the forefront of avant-garde music, and his expertise in contemporary repertoire will be a valuable resource for students looking to explore new sounds and techniques. His work often integrates traditional string techniques with experimental approaches, making him an exciting and inspiring guest for Codarts’ aspiring musicians.

Additionally, Ensemble Pinarello will be visiting during this special week, offering a unique workshop on playing from memory in larger ensembles. This approach to ensemble playing without the reliance on sheet music is designed to deepen the students’ connection to the music, enhancing both their listening skills and their expressive capabilities.

Together, Knox and Ensemble Pinarello will provide a stimulating experience, encouraging students to push their boundaries and engage with new dimensions of music-making.

Four Seasons

Suite for Clarinet and Viola
Dedicated to my dear friend and colleague Thea Rosmulder

In the extraordinary summer of 2022, at the end of almost two years of the coronavirus when it was still unclear whether we would be facing yet another lock- down, I set myself the task of writing a piece for my friend and colleague Thea Rosmulder, a clarinetist. It became a suite.

The whole of that year was extremely unusual. It was rather warm in the winter, though a Covid wave meant we had to stay at home. All events were can- celled, and when we were allowed to start up again, everyone naturally wanted to play and attend concerts. We were so busy that we didn’t notice when spring came. Suddenly it was April, and it was warm.
Summer came early, and I took this as an opportu- nity to call my work for clarinet and viola “Four Sea- sons”. Not “The Four Seasons”, of course, because they’re by Vivaldi, and that’s how it should stay.
In August, when we played this suite together for the first time, it was so warm that the trees had already shed their fruit: it was autumn in the midst of summer.

We tumble into winter, year after year. 2021/22 was again very mild, which was no bad thing on the face of it. After all, many households were unable to afford the skyrocketing energy prices triggered by the war in Ukraine.
Then autumn came in spring! With lots of rain! People spent less time outdoors and almost missed the blossoming of the trees, the scents of spring and the singing of the birds.
Whatever we want to eat, everything’s available all year round. But perhaps this isn’t good for our climate? Should we perhaps buy less from the supermarket, and instead purchase more seasonal, regional product from the local farmers at the market?

From the summer of 2022 onwards, I made it my mission to show a deeper appreciation of the seasons, to go outside, to breathe in the air, to ask myself what scents I can discern, and to watch how the trees adapt to the different times of year.

My suite “Four Seasons” begins with autumn be- cause I love that season so much: the trees and the leaves glisten in the loveliest colors while the wind and the rain offer us the opportunity to conjure up the magic of Christmas in our homes.

I hope that I have been able to capture in music my fascination for the cycle of the seasons.

Available from November 2024. Visit Music4Viola.info for more information!

Nieuwe CD van duo Karin Dolman en Caecilia Boschman: Voila Viola! Dutch Angle

07 juli 2024 • 16:50 door Jacques Malschaert

DORDRECHT – Tijdens het eerste zomerconcert van dit jaar presenteerde het Dordtse duo Karin Dolman (altviool) en Caecilia Boschman (piano) al weer hun derde CD, Voila Viola: Dutch Angle. De altviool stond zaterdagmiddag en -avond centraal. Daar kom ik nog op terug in een apart artikel.

3 x Cinderella
Na de cd’s Great Britain en Viva la France met uitsluitend Engelse en Franse componisten ligt er nu de cd ‘Dutch Angle’ met Nederlandse componisten. Het duo schroomt in hun repertoire-keuze niet om het avontuur op te zoeken met veel modern klassieke muziek, voor veel liefhebbers van klassieke muziek onterecht een nauwelijks ontgonnen gebied.
De altviool, hedendaagse klassieke muziek van Nederlandse componisten; drie Cinderella’s die met deze nieuwe CD uitgroeien tot een prachtige Assepoester.
In de Barok en de Klassieke romantische periode erna is relatief weinig geschreven voor de altviool als solo-instrument. Pas in de Twintigste Eeuw kwam daar verandering in. In de praktijk zien we dat muziek, oorspronkelijk geschreven voor viool of voor cello, geregeld wordt omgezet naar de altviool. Tijdens het laatste Bachfestival hoorden we een van de cellosuites van Bach uitgevoerd worden op de altviool. In Dutch Angle zijn twee stukken uit de 19eeeuw, oorspronkelijk bedoeld voor viool en piano, gearrangeerd door Karin Dolman.

Willem Kes
De in Dordrecht geboren Willem Kes (1856) startte zijn muzikale loopbaan in zijn geboortestad waar hij optrad met het Dordrechtsch Orkest en op jonge leeftijd directeur werd van de afdeling Toonkunst. In 1888 werd hij de eerste chef-dirigent van het Concertgebouworkest. Hij kreeg de opdracht om een nieuw orkest op te bouwen in een stad en land die die volgens Johannes Brahms nog niet veel voorstelde. Brahms kwam naar Amsterdam omdat hij er goed kon eten. Willem Kes bleef maar vijf jaar in Amsterdam, maar hij legde wel een fundament onder het Concertgebouworkest waar latere dirigenten als Willem Mengelberg en Bernard Haitink op konden voortbouwen. Als componist werkte Willem Kes schreef zijn vioolsonate vanuit een Laatromantische traditie. Met invloeden van Brahms, Schumann en Grieg. Zo ook zijn sonate voor viool en piano uit 1884, die Karin Dolman arrangeerde voor de altviool en piano. Het is ook het oudste stuk dat is opgenomen in de drie cd’s.

Dordts hoekje
Met hun keuze voor werken van de in Dordrecht geboren en getogen Willem Kes en Jan Willem Nelleke bleven Karin Dolman en Caecilia Boschman in de buurt. Jan Willem Nelleke woonde zelfs om de hoek bij Caecilia, in Sterrenburg. Dat uw recensent in datzelfde hoekje van de stad woonde en het talent van zijn buurmeisje van weleer al vroeg door de binnenmuur onderkende, berust op louter toeval…
De muziek van de Dordtenaren Kes en Nelleke staan niet alleen wat tijd het verst uit elkaar, ook muzikaal zijn de verschillen het grootst. De sonate van Kes begint met een relatief stevig allegro, uitgevoerd tijdens de cd-presentatie, gevolgd door een afwisselend rustiger en dan weer wat sneller tweede deel om af te sluiten in een allegro waarmee het ook begon. Een sonate die het verdient om vaker te worden uitgevoerd, wat overigens voor alle stukken geldt. Misschien dat deze cd eraan gaat bijdragen. Leunde Willem Kes zwaar op zijn Laatromantische tijdgenoten, Jan Willem Nelleke gaat zijn eigen weg. Het stuk ‘Sonate On the Beaten Track’ (2011/2012), speciaal geschreven voor Karin Dolman en Caecilia Boschman, mag dan wel een sonate genoemd worden, het heeft er niet veel weg van. Ok, het heeft vier delen, maar daar is alles ook mee gezegd. Het eerste deel ‘On the beaten track’ omschrijft Nelleke zelf als volgt: “Het eerste deel kent twee scherp contrasterende thema’s, de eerste hectisch en hoekig alsof je in een dwangbuis zit (nog eens versterkt door het meetikkende metronoom om de spelers ‘on the beaten track’ te houden), het tweede thema is harmonisch en sereen, alsof het een visioen van vrijheid belooft”. Voor het tweede deel, ‘A cat called Mouse’, liet Nelleke zich inspireren door een kinderboek van Salman Rushdy. Daarin danst een generaal met zijn eigen schaduw, die uiteindelijk zijn eigen weg gaat. In de muziek spelen altviool en piano een zelfde soort spel.

De cd bevat nog meer prachtige stukken, van de Belgische componist Joseph Ryelandt en de Limburger Carl Smulders.
De eerste twee albums met uitsluitend Engelse en Franse muziek hebben nu een opvolger gekregen, ‘Dutch Angle’. Opnieuw blijkt maar weer hoe mooi Cinderella altijd al was… 

Geluisterd:

Karin Dolman en Caecilia Boschman: Voila Viola, dl. 3 Dutch Angle.Verkrijgbaar, net als de eerste twee cd’s, bij mijn favoriete winkel in Dordrecht:
Dordrecht Klassiek, Voorstraat 435 3311 CT Dordrecht

Three Golden Hairs

This week my piece, I wrote for my colleague and friend Emlyn Stam, came over the post, so it is finally published and ready to purchase. Go to Viola Viva!

My father collected fairy tales and stories and took every opportunity to read them out loud. He even liked telling them on stage, immersing his audience – us, his children, his family, pupils and friends – in a world of meaningful imagination. Thanks to our German mother, our favourites were the fairytales of the Brothers Grimm. Both Evil and Good are present in every human being. But in our lives, we have to learn the art of resisting the former or at least of laughing at it. Unfor- tunately, not everyone manages this. Young people’s escapades are rarely meant to be mean, though they sometimes end badly. A lot of courage is then needed to recognise your mistakes and admit to them. In the present fairytale, the lucky boy is confronted with his alter ego. The solution is actually the apology that follows a failed escapade.

Here, Evil is represented by the rascal who yearns for the love of his grandmother. If we view this grandmother as a kind of magnifying glass through which we can see our pranks magnified, it offers us a renewed opportunity to learn to resist Evil.

In 2023, during the hottest summer ever recorded across the world, the Dutch government collapsed amidst the escalating dispute about asylum seekers and the rising number of victims of the war in Ukraine. As Evil grew bigger and bigger, my father came to mind again. I saw him as a grandmother, as a magnifying glass, looking over my shoulder as I wrote this piece.

Three Golden Hairs available here……

Designing an attractive concert program

A lecture on new approaches for successful concert venues

In April and July I will present a lecture about the musician, his way to the stage and all the obstacles on this path. History, influences of the society and our changes of the world. Do we wait for the telephone to ring or should we be musician, composer, agent and manager in one? How can we get help?

I know, after weeks of research I won’t be ready, but maybe with my audience, we will have a good discussion and have new ideas to be creative and successful.

Thee Golden Hairs, written in summer 2023 for Emlyn Stam
Next concerts: April 2024 Poland, May 2024 Netherlands, July 2024 Brazil

Te Voet

Op zaterdag 18 november organiseert stichting Augustijnenhof een filmische wandeling door het leven van Johannes Eusebius Voet,hertaler van een deel van de 150 psalmen in 1773.
In een combinatie van livemuziek en verhalen vormt deze wandeling een uniek programma dat plaats zal vinden in de Augustijnenkerk. Hierin zal ik als muzikale gids de wandeling begeleiden. Een uniek en creatief uitdagend project!
 

Zaterdag 18 november 13.30 in de Augustijnenkerk

Voor meer informatie en reserveren voor deze unieke gebeurtenis: Lees hier….