Zelada, Zijlstra, Swart, Melli, Auznieks, Kim and Richter @ KC LAB - Korzo Theatre, 9 December 2013

Composition students of the Royal Conservatoire The Hague present their (newly) written pieces.

The 9 December concert kicked off Renán Zelada's work called "Another year". Zelada used a haiku by Allen Ginsberg as text for tenor Benjamin Jago Larham to sing. Instrumentated with double bass, tamtam and temple blocks and timpani the quartett performed the three "parts" of the composition. A drawn out section was followed by a ryhtmic and dynamic sequence, to work it's way to a stilled finale. For the next piece composer Renán Zelada took a seat behind the piano to perform together with tenor saxophone player Daan van Koppen Bas Zijlstra's composition Den Duvelmakere. A latent melodic piece referring to Hieronymus Bosch ink sketch "The Wood has Ears, The Field has Eyes". Celia Swart's "Growing up" is a minimalistic kind of work for vibraphone, piano and cello. After the opening in which the instruments have an equal part the piano takes the lead. After being joined by the cello the vibraphone suddenly takes over. Only for the piano to take the lead back to finish off the piece. Next Critiano Melli's "Serafim Ponte Pequena" was programmed. In this cylce of three songs for voice and piano (Raúl Santana) singer Veronique van de Meijden impressed with her interpretation, accompanied by dramatic expressions. As last piece for the intermission Latvian composer's piece "Realities II" was performed, by a trio: Camille Verhaak - clarinet; Tomasz Zymla - bass clarinet and Rubén Castillo del Pozo - vibraphone. Based on vibraphone sounds the clarinets erupted mostly unisono.

Renán Zelada (left) and Daan van Koppen (right) in Bas Zijlstra's Den Duvelmakere.

After the intermission the stage was set for Eugene Kim's Dong-gyeong for two cellos. Scouring tones in this compostion which brings together the very high notes played by Aleix Sala Ribera with the low notes played by Jonathan IJzerlooij. The finale of the concert was reserved for Christiaan Richter's piece called Titania Nanotubes for Solar Energy and Catalysis for six wind instruments and electric guitar. Christiaan Richter told:"Last year I got out of the blue a phone call on behalf of the Dutch contemporary classical music ensemble "Orkest de Ereprijs". They were to tour Spain, Germany and The Netherlands with a new programme. Unfortunately the promissed composition by a Spaniard didn't materialise. And they asked me to write "in no time" a piece for them. I did hesitate for a while for I was nearing my bachelor exam composition (Christiaan passed the exam summa cum laude - note from the editor). But in the end I consented the call and wrote the nanotubes piece. In all it was performed fourteen time. For this performance I invited students of the Conservatoire. All of them have played one of my compositions before. Originally it was written for a project with dancers, but now we stage a concert performance." Conducted by the composer himself the grand piece (not only for it's length of about half an hour) started with a compelling introduction. Few notes in the beginning. The music gradually became more fierce, culminating in a violent middle section. Only to return to sparing notes towards the end of the piece.

Christiaan Richter conducts "Nanotubes".


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