Sonic Panorama

Melodic, vividly coloured, straight from the heart, with great attention to detail yet always rhythmically grounded, Jan-Peter de Graaff’s (NL, 1992) music combines the ethereal with spectacular theatrical grandeur. Both compositions ZandZeeBar (for Bariton Saxophone solo) and “Reeks en progressie” (Series and progression, for ensemble) combine strict melodic material and delicate textures with funky rhythms and a natural flair.

ZandZeeBar describes in three movements three seemingly unrelated and contrasting musical events: the course, rugged sound of sand blown by the wind, the curling patterns of waves crashing on the seashore and the atmosphere of a cocktail bar after nightfall. Yet all movements are based on the same musical material.

Reeks & Progressie (Series and progression) is based on a sequence of 17 notes, forming a cocktail of melodies, harmonies and repeating patterns in different tempi. The material is mixed, flipped, shaken and stirred, with a final last memory of the two central chords on which the piece is built being pushed aside by the energetic dripping, plucking and popping of all ensemble members.

Max van Platen (NL, 1996) experienced the Covid crisis as something negative and positive at the same time: it was annoying to have to sit at home, but it also created beautiful new things. He compared this contrast to a special weather phenomenon: when the sun shines and it rains at the same time. His composition is therefore called Kermis in de hel (Dutch for sunshower).

‘What started as a sound haiku of almost-nothing, emerged at the drop of a hat into contrarian hop-step-jump music.’ – NRC

Max starts his composing process at the core. He first takes time to refine very small and detailed musical objects, and only when he has gathered a large enough amount of these musical objects, he starts working outwards towards the entire structure of the composition. Max studied with Martijn Padding and Peter Adriaansz in The Hague, and his work is influenced by Stravinsky and Louis Andriessen, among others.

Remy Alexander (*1991) likes to compose often and with a wide variety of influences. As a composer he works for mainly concert and film settings. Remy has earned his bachelors degree in composition at the Utrecht Conservatory, and his masters in composition at Fontys and the royal conservatory of The Hague. In 2018 he was awarded the Tera de Mare Oyens prize during the Gaudeamus week. His music has been performed at festivals such as November Music, the Huddersfield Contemporary music festival, Gaudeamus and Cross-linx. He is not very athletic, but he can run pretty fast. Middle-C is his favourite note.

In Beach Days I have tried to capture the feeling that sinks into my system when i’m spending a summer’s day at the beach – the feeling of a hazy warmth and an endless stretch of time gets soothed into my system by the sounds of the waves coming in and out. It’s a piece where the guitar takes a central role – repeating its breezy chord sequence with only the slightest rhythmic changes as if it was the sea itself. The rest of the ensemble seem to dance and swim around the waves of the guitar while they gradually move through the cycle and push the form forward. The alternate guitar tuning gives an easygoing backdrop for a piece that is easily described as ‘vibey’ and the piece fits equally well in the setting of a day or a night at the beach – be it sweaty and calm in the shade of an umbrella or slowly dancing around a beach bonfire..

Amarante Nat (NL, 1995) is used to going through life dancing. During the Covid crisis, she tried to keep dancing and focus on (new) constants that helped her keep moving, such as phoning family. Her piece is based on an alienating waltz.

‘In Carousel, this ballet-dancing composer subjects a slow waltz to a thorough deconstruction. Bonified notes in minimal instrumentation: austere in the good sense of the word.’ – NRC

In her work Amarante feels attracted to traditional western musical forms such as opera, ballet, chamber music and symphonic works. At the same time she is motivated to research new forms and musical ideas such as installations and music theatre. Looking for new working processes and exploring how different art forms can merge and interact through interdisciplinary collaborations are therefore a crucial focus in her work.

Bianca Bongers (NL, 1987) is a composer and cellist. Starting from a visual way of thinking, her music is recognizable by a high refinement and sense of form, shaping music as an almost touchable object. She is often looking for clarity and a certain surprise and playfulness in musical movement. The process of working, that never seems to be linear, is what she enjoys the most. Although clearly for her, the sounding result on stage is where it is all about. She composes, while wishing to hear this particular organization of sound, to express it and share it with the public.

Composer and performer Molly Joyce (USA, 1992) has been deemed ‘one of the most versatile, prolific and intriguing composers working under the vast new-music dome’ by The Washington Post. Her work is concerned with disability as a creative source. She has an impaired left hand from a previous car accident, and seeks to explore disability through composition, performance, collaboration, community engagement, and further mediums.