do 18 feb 2016 donderdagavond serie serie nieuw ensemble grote zaal / 20.15 uur
Nieuw Ensemble An Evening of Today 2016
PROGRAMMA
do 18 feb 2016 donderdagavond serie serie nieuw ensemble Grote Zaal / 20.15-21.50 uur DUUR: ca. 35 minuten voor de pauze ca. 35 minuten na de pauze
Nieuw Ensemble
An Evening of Today 2016
inleiding
Gregory Charette dirigent
foyerdeck 1 / 19.15-19.45 uur
Harrie Starreveld fluit Ernest Rombout hobo Anna voor de Wind klarinet Hans Wesseling mandoline Helenus de Rijke gitaar Ernestine Stoop harp Katerina Konstantourou piano Herman Halewijn percussie Emi Ohi Resnick viool Frank Brakkee altviool Jeroen den Herder cello Dario Calderone contrabas
JoĂŤl Bons in gesprek met de componisten
Sarah Jeffery & Darragh Kearns-Hayes tin whistle Lam Lai, Matthew Schoen video Vinny Jones lichtontwerp
Dit concert is mede mogelijk gemaakt door Stichting Kleyn
We verwachten een internationaal publiek. Daarom is ervoor gekozen de toelichtingen en de biografieĂŤn in het Engels te plaatsen.
Lam Lai (Hongkong, 1983) Piwogana for ensemble and video Haukur Þór Harðarson (IJsland, 1989) From which one cannot turn away Rick van Veldhuizen (Nederland, 1994) de formation PAUZE Carmen Vanderveken (Canada, 1993) Pinky Blood for ensemble, tape and video Seán ó Dálaigh (Ierland, 1987) (negative space) Darragh Kearns-Hayes (Ierland, 1990) Is Cuimhin liom
inleiding Het voortdurend leunen op de geschiedenis duidt op weinig geloof in eigen kunnen, het is een teken van verval. Een civilisatie in opmars heeft geen tijd steeds terug te kijken, zij is veel te druk doende een eigen wereld te creëren. Pierre Boulez Nu Boulez er niet meer is, is alles wat zijn generatie heeft betekend en gecomponeerd definitief geschiedenis. De bordjes op de balkons van Het Concertgebouw moeten nodig worden bijgewerkt: de twintigste eeuw, met zijn creatieve explosie van waanzinnige en geweldige muziek, behoort tot hetzelfde verleden waartoe ook Bach, Beethoven, Mahler en Stravinsky behoren – het is ‘onze traditie’. De impact van Boulez’ dood was groot, mede omdat hij voor velen een vaderfiguur was. Er is geen vader meer. Wil ‘hedendaagse muziek’ geen holle frase worden, dan kan het begrip niet meer gebruikt worden voor muziek die tussen 1950 en 2000 is geschreven, die muziek is bijgezet. Nieuwe muziek komt van nieuwe generaties.
componisten voegen zich als uitvoerder bij de musici op het podium, anderen hebben niet alleen de muziek maar ook video’s gemaakt die een integraal onderdeel van hun werk zijn. De premières van Rick van Veldhuizen (Nederland 1994), Carmen Vanderveken (Canada 1993), Darragh Kearns-Hayes (Ierland 1990), Haukur Þór Harðarson (IJsland 1989), Seán ó Dálaigh (Ierland 1987) en Lam Lai (Hong Kong 1983) geven samen een kleurrijk beeld van het brede spectrum van de nieuwste gecomponeerde muziek. Joël Bons (artistiek leider Nieuw Ensemble)
Met An Evening of Today biedt het Nieuw Ensemble ruimte aan talentvolle creatieve geesten van vandaag. Zes jonge componisten treden in samenwerking met de ervaren musici van het Nieuw Ensemble buiten bekende kaders en gaan op zoek naar onvermoede klanken en verbindingen met andere disciplines. Geen vooroordelen, geen regels, maar de verbeelding aan de macht, met een breed palet aan invalshoeken en invloeden. Sommige 4
introduction Each spring since 2013 the Nieuw Ensemble presents An Evening of Today at the Muziekgebouw aan ‘t IJ in Amsterdam. This year the event also takes place at Korzo in The Hague. The idea is to provide a platform for young composers to work together with professional musicians who are dedicated to new music. Thus, six young composers realize their projects in collaboration with the musicians of the Nieuw Ensemble. This year’s programme of An Evening of Today consists of works especially composed by a mixed group of students and alumni from the conservatories of Amsterdam and The Hague: Lam Lai (Hong Kong), Rick van Veldhuizen (The Netherlands), Carmen Vanderveken (Canada), Darragh Kearns-Hayes (Ireland), Seán ó Dálaigh (Ireland) and Haukur Þór Harðarson (Iceland). Some composers share the stage as performer with the musicians of the Nieuw Ensemble, others have not only written the music but also made the video’s that are an integral part of their work. An Evening of Today reflects a broad and exciting spectrum of brand new music. www.aneveningoftoday.com
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introduction
Lam Lai
Above, two dark eyes, globes of magnetic vision looking straight ahead, mono-ideaed, say in unison: ‘Would you make up your mind? Or must I still keep waiting?’ For a bit of free will seems part of the rules of the game, of the sinister, fascinating game. Teeth in one row guard – just about – the entrance. Almost translucent, they would hardly hurt, except perhaps upon leaving, if leaving were still a possibility. In the depths of the cavernous palate it looks like fringes inside, hairs, a row of supple blades, black — like whalebones. A strange entrance. The mouth — almost flaming red — is reminiscent (by its circularity and the perfection of its curve) of a planet’s admirable path around its mistress, the Star, the Star from which one cannot turn away.
Piwogana
'This is a piano wwokr work apinoe worj owpianow woakoiano wheokwoijpianow owkrwokrowkrkowk!!!!rwork pianonworka pianoowrkkwogaippiworj owkrowjtnoagan piwogana~' Although Piwogana is written for ensemble and video, the work depicts more like an actual situation on stage: the pianist is very focused on her playing while other musicians try to distract her. The piano part is the backbone of the whole piece and a contrasting situation between the elegant piano and interrupting strings creates two parallel time spaces. A similar idea is applied to the video: the actual audience and the audience in the video create parallel spaces in the hall.
Henri Michaux (English translation by David Ball)
Haukur Þór Harðarson
Rick van Veldhuizen
From which one cannot turn away
de formation A creature of an unknown species, very, very near, with an enormous gaping terrifying opening just right for swallowing up the watcher, for making him disappear, soon hypnotized, lost and above all lost is any idea of return. Fall into the enclosure of flesh. Someone certainly has this temptation.
de formation consists of the material of three old – somewhat naive – pieces I wrote 6-9 years ago, when aged 12 to 15. For some reason I had always grouped them together, and even once rearranged them, also calling them de formation. At this point in my life though, I couldn't just make them into a 6
introduction
performing version of nostalgic paraphernalia: I had to find the connection between those pieces and recognize their weaknesses. In the resulting piece, the various pieces get intruded by one another in every 'weak spot'.
Carmen Vanderveken
de formation refers to the 'roman de formation', the 'Bildungsroman', in that it describes a youth, but also, when read in English, with no space, it takes on a much darker meaning. It's not a collage piece, but rather a photo album which has become faded and bleary. The 'photos' in this case are the three pieces.
Seán ó Dálaigh
Pinky Blood
Pinky Blood is a piece about my emotional life.
(negative space)
, Ma, loosely translates from Japanese as ‘negative space’, ‘gap’, ‘pause’, ‘interval’, or ‘time’. In art it refers to an awareness of the space between two structural parts as an integral part of composition. It is not created by the structural elements themselves but it is rather the mind projecting substance into ‘nothingness’ through experiencing the elements as distinct and separate. Translated as ‘time’ or ‘interval’ we can find an analogy in music understood as a process.
The raggo pour les mains perdues (2009, age 15) is a piece from my fortunately short-lived jazz-influenced period, which found me experimenting with free atonality. The oldest, the nuchtere wals die het best klinkt als je te veel gedronken hebt (2006, age 12) is a dark, almost lethargic slow waltz, evoking a 19th century London pub, inspired by a gay-themed youth novel I was reading at the time. And finally, the valse pour un partenaire mort (2008, age 14), which is a tad lugubrious and more than a tad postimpressionistic.
The initial inspiration for this piece came from an experience I often have, waking up in the dark when objects in the room, obscured in shade, lose their sense of depth and melt from foreground and background into surreal shapes in my mind’s eye. This piece contains a musical surface which is constantly in flux It is an important concept to me because I believe the mundane reality of human existence 7
is a beautiful mess which lives in the space between rigid ideas, opinions and '–isms', and this piece was a way for me to speak about this.
Darragh Kearns-Hayes Is Cuimhin liom
Is Cuimhin liom (I remember) is an exploration of memory and how the context from which something is remembered greatly influences how it is remembered. What is the correct version? Is there one? It also aims to leave listeners with earworms of melodies. What makes a tune memorable? And how many times do you need to hear it to remember it?
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BIOGRAphies COMPOSERS Lam Lai
Lam Lai was born in Hong Kong. She studied her master’s degree in music composition at the Royal Conservatoire in The Hague with Martijn Padding and Yannis Kyriakides. Currently she is studying in the Sonology department. Before her study in the Netherlands, she studied music composition in The Hong Kong Academy for Performing Arts in
Hong Kong. Her compositions are performed around the globe, including orchestral, ensemble, electronic and interdisciplinary works. As a composer, she tends to create new hybrids of media, exploring sound experiences in music and the communication to the listener. Lam Lai has focused on combining conventional performance practices with other forms of art such as electronic sound, visual art, film, literature and theatre. In 2011, her work Frozen Moment for synchronising two ensembles in two cities was performed by the Hong Kong New Music Ensemble in Hong Kong and Ensemble Adapter in the Berliner Festspiele 2011. Apart from creating her own music, Lam Lai also contributes in music and art education. She was invited by Hong Kong Arts Centre as an artistic tutor to design series of sound art workshops about ‘Art & Technology’ for secondary school students. Currently, she is working with the music-theatre company 9
de Veenfabriek for the performance RAARRR which tours around the Netherlands this winter.
Haukur Þór Harðarson
Haukur Þór Harðarson, born in Seltjarnarnes (Iceland) has studied music from an early age, starting with the trombone. He graduated from the Icelandic music school FÍH and started his composition studies at the Icelandic Academy of the Arts, where Atli Ingólfsson was his main teacher.
biographies
Haukur graduated with a BA degree in composition in 2012. Afterwards, he studied Master in Composition at the Conservatorium van Amsterdam with teachers Richard Ayres and Wim Henderickx as well as having had individual lessons with Brian Ferneyhough, Johannes Schöllhorn, Dmitri Kourliandski and Chaya Czernowin. Currently he is studying at the Institute of Sonology in The Hague. He started the band Orphic Oxtra as well as being a founding member of Errata collective and producer of Upp rís úr rafinu concert series. His works have been performed by ensembles like Caput, Neon, ensemble recherche, Neue Vocalsolisten, Orkest de Ereprijs, Asko|Schönberg and Quatuor Diotima.
Rick van Veldhuizen Rick van Veldhuizen was born in Tilburg in 1994. From 2008 he started studying composition
with Kees Schoonenbeek at the Young Musicians’ Academy of the Fontys Conservatorium Tilburg.
Starting 2009, he also studied piano there. In 2011, his piece reflections in a breaking glass door won the 1st Prize at the CoMA Maastricht composition competition. He took on to study composition at the Royal Conservatoire in The Hague (with Martijn Padding and Calliope Tsoupaki) and Dutch language and culture at Leiden University. A year later he chose to continue studying composition at the Conservatorium van 10
Amsterdam with Joël Bons and Willem Jeths. The years 2012-2015 have been dynamic years, as his compositions began to take on both a more autobiographical and a more political tone, more than once dealing with contamination and disintegration (of styles, structures, ‘bodies’). In 2012 his weltjugend U6 [1984] was Nexus Reedquintet’s pick for runner-up in the Calefax PAN composition competition. Partially because of his study in literature, he is preoccupied with what his music, often in combination with text, can tell. In pieces such as […] quem lex subjungat and lacrimosa he has linked personal themes with universal and political themes such as xenophobia and perceptions of death. This culminated in the creation of (un)mensch for large concert band in early 2015, which is about Hitler and radicalisation as an integral part of humanity. This piece is a finalist at the International Composition Competition Harelbeke 2016.
biographies
Carmen Vanderveken
Carmen Vanderveken is a Canadian composer of French and Brazilian origins. Through the creation of musical and audiovisual works, she strives to express a sense of theatricality where the intimate meets the eccentric. As a resident composer, her works have been performed by various chamber music ensembles in Montreal such as Musique Avenir, Paramirabo and Montreal Piano Duo. Her artistic practice also extends
beyond musical composition, most notably into video art. She has directed short films that, in turn, combine dance, theatre and music. These have been presented at the Rendezvous du cinéma québécois as well as the Vidéographe centre. Having recently completed her bachelor’s degree in composition at the Conservatory of Montreal under Michel Gonneville, she is currently pursuing a master’s degree at the Conservatorium van Amsterdam with Richard Ayres, with the support of the Fonds de recherche québécois en sciences humaines et culture. Her work has received recognition from the Fondation de la Société canadienne des auteurs, compositeurs et éditeurs de musique (SOCAN), the Montreal Music Conservatory Foundation, the McAbbie Foundation and the Réseau intercollégial des activités socioculturelles du Québec. She also has received support from the Canada Council for 11
the Arts, the Vidéographe Centre and the Young Volunteers program. During the upcoming year, she will compose for the Plumes Ensemble, Pentaèdre and for a newly formed collaborative project with multimedia artist Matthew Schoen.
Seán ó Dálaigh
Seán ó Dálaigh is a composer from County Kerry in Ireland and currently based in Amsterdam. He studied composition with Richard
biographies
Ayres, Wim Henderickx, Willem Jeths and has had individual and masterclasses with Dmitri Kourliandski, Carola Bauckholt, Chaya Czernowin and Marco Stroppa. Seán graduated with a master’s degree in composition from the Conservatorium van Amsterdam in 2015. Projects in 2016 include An Evening of Today with the Nieuw Ensemble, the Mixtur Festival in Barcelona, a commission for the Kirkos Ensemble in Dublin, a production of Hamlet in Utrecht with Espen Hjort, theatre director, and the ‘New Music New Media’ project as part of the Britten-Pears Young Artist Programme in Aldeburgh in the U.K. In July 2015 he was awarded the Travel and Training fund from the Irish Arts Council to pursue a year of study at the Institute of Sonology, The Hague. His chamber piece surface tension was premiered in The Hague and Amsterdam by Asko|Schönberg in March 2015. He was selected to
take part in the TENSO young composers workshop 2015 in Mechelen, organized by Tenso, the European network for professional chamber choirs. In 2014 and 2015 his work was featured on the Composers’ Festival Amsterdam.
Darragh Kearns-Hayes
A strong interest in collaboration and in media other than music often drive Darragh’s creative processes. Nature, fantasy and his own personal experiences are 12
among the themes he draws inspiration from. Darragh studied piano and music theory at the Cork School of Music from an early age and graduated there with a first class honours bachelor’s degree in 2013. His studies there were very broad but he gravitated towards composition, as it provided the creative outlet with the least limitations. He is currently pursuing a master’s degree in composition at the Conservatorium van Amsterdam, studying with Wim Henderickx and Richard Ayres. Recently Darragh has become increasingly interested in Irish traditional music. He performs regularly with his trio Lyda, playing traditional repertoire and original compositions. He has experimented with transferring traditional Irish forms into classical contexts, from small ensembles up to symphony orchestras. He is interested in utilising aesthetics from traditional
biographies
PERFORMERS Gregory Charette Conductor
Gregory Charette (1987) was born in Los Angeles, California. He earned his B.M. in composition from the Oberlin Conservatory of Music, where he studied with Lewis Nielson and participated in master-classes with Helmut Lachenmann, David Lang, and Rebecca Saunders.
foto: James Oesi
music, communicating his music to instrumentalists orally and work-shopping material. Past collaborators include the Irish National Symphony Orchestra, Orkest de Ereprijs and Conservatorium van Amsterdam Symphony Orchestra, amongst others. Upcoming projects include a large-scale dance piece based on emperor penguins, which will premiere in the Composers’ Festival Amsterdam in May. Gregory moved to The Netherlands to study orchestral conducting at the Royal Conservatory of The Hague, where his primary teachers were Jac van Steen and Kenneth Montgomery. In 2013 he earned his M.M. from the newly created National Masters in Conducting in The Netherlands. A fierce advocate of new music, Gregory studied with Pierre Boulez at the 2011 Luzern Festival and has served as conductor in the Holland Festival’s John Cage Centennial as well as the Aldeburgh Festival’s Emerging Composers 13
Program, where he has worked closely with Oliver Knussen. He is music director and founding member of Oerknal!, a contemporary music collective dedicated to reinventing the concert experience. Gregory conducted previous editions (2013 and 2015) of An Evening of Today with the Nieuw Ensemble.
biographies
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 lively and adventurous programming which can be described as ground-breaking, both in the literal and figurative senses of the word’. The ensemble introduced a large number of non-Western composers in premiere programmes. Since 1991, programmes featuring new works written especially for the ensemble by Chinese composers such as Tan Dun, Qu Xiaosong, Xu Shuya, Chen Qigang and Guo Wenjing have attracted wide attention. In spring 1997 the ensemble toured to China for the first time, followed by another visit to Beijing in 2008. In April 2010 the group gave concerts in Hong Kong and Shanghai (World Expo). The NE was ensemble in residence of the Shanghai New Music Week in September 2011, and in May 2014 guest of the Shanghai Spring International Music 14
Festival with three concerts. Other highly successful projects have been those dedicated to new music from Japan, the Caucasus, the Middle East and Central and South America and programmes around the work of composers such as Berio, Boulez, Carter, Donatoni, Ferneyhough, Kagel, De Leeuw, Ligeti, Kurtág, Loevendie and Nono. The Nieuw Ensemble enjoys a firm international reputation. www.nieuw-ensemble.nl
foto: Kadir van Lohuizen
biographies
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VERWACHT
do 3 mrt 2016 donderdagavond serie grote zaal / 20.15 uur
Calefax
Nieuwe Rietoogst
Calefax stimuleert het componeren voor deze bijzondere bezetting onder meer door het uitschrijven van een jaarlijkse internationale compositiewedstrijd, de Calefax Composers Competition. De winnaar van deze compositiewedstrijd wordt steeds bekend gemaakt tijdens de PAN – het feestelijke Calefax-evenement in het Muziekgebouw eind december. In Nieuwe rietoogst staat een van de winnende composities op het programma. PROGRAMMA: Nico Muhly nieuw werk / Daj Fujikura Wind Skein / Theo Loevendie Ritorno / Jacob TV nieuw werk / Winnend werk van de Calefax Composers Competition
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foto: Rob Marinissen
Een programma vol originele muziek voor rietkwintet. Het merendeel van de stukken is speciaal voor Calefax gecomponeerd. Een aantal nieuwe werken kwam tot stand binnen het World Wide Reed Quintet Network, een in 2012 door Calefax opgericht internationaal netwerk waar inmiddels zeventien rietkwintetten actief bij betrokken zijn.
Calefax
verwacht
VERWACHT
za 2 apr 2016 SERIE nieuw ensemble grote zaal / 20.15 uur
Nieuw Ensemble + Dhruba Ghosh Het pad van Boeddha
In de Indiase raga heeft elke noot en elk ritme een betekenis; de zuivere schoonheid van in elkaar hakende patronen werkt hypnotiserend. Zowel de Italiaanse componist Giacinto Scelsi als de Britse componist Jonathan Harvey zijn diep door het Boeddhisme beïnvloed; Kya en Wheel of Emptyness zijn daarvan prachtige voorbeelden. Twee van Harvey’s Taiwanese leerlingen schrijven speciaal voor dit concert een nieuw werk. PROGRAMMA: Indiase raga’s door Dhruba Ghosh, Niti Ranjan Biswas, Julia Ohrmann / Giacinto Scelsi Kya / Shih-Wei Lo nieuw werk (wereldpremière) / Chingwen Chao Dark Light (wereldpremière) / Jonathan Harvey Wheel of Emptyness
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foto: Isabelle Françaix
Indiase muziek op het hoogste niveau: de wereldvermaarde raga-grootmeester Dhruba Ghosh zorgt voor betovering en vervoering op zijn sarangi (strijkinstrument), samen met tablavirtuoos Niti Ranjas Biswas. Na de pauze brengt het Nieuw Ensemble twee klassiekers van de Boeddhisten Giacinto Scelsi en Jonathan Harvey en nieuw werk van twee van Harvey’s talentsvolste leerlingen.
Dhruba Ghosh
VERWACHT
Februari vr 19 feb / 20.15 uur
Nederlands Kamerorkest + Nederlands Kamerkoor Memento Mori za 20 feb / 20.15 uur
Chitose Trio (Japan) Gagaku, toeval en stilte
vr 26 feb / 19.00 uur / hele gebouw
do 3 mrt / 20.15 uur
Cross-linx
Calefax Rietkwintet Nieuwe Rietoogst
Neil Finn & Glenn Kotche’s Unlimited Orchestra | Andrew Bird | The Notwist | Son Lux | Peter Buck (R.E.M.) | Third Coast Percussion | Emilie & Ogden | On Fillmore | Aart Strootman | Yuri Landman | Luke Deane & Ragnar Olafsson | Dawn of Midi | Diamanda Dramm | Dominique Vleeshouwers
vr 4 t/m zo 6 mrt
De 15 kwartetten van Sjostakovitsj
zo 21 feb / 15.00 uur
Barokorkest Il Fondamento ism Sweelinck Barokorkest Vier heuvels: Liefde in tijden van oorlog
za 27 feb / 20.15 uur
di 23 feb / 20.30 uur
zo 28 feb / 20.15 uur
Oneohtrix Point Never The Rest Is Noise
Sarah’s Passion Silbersee + Ragazze Quartet
do 25 feb / 12.30 uur
Maart
Leiermann Ensemble Lunchconcert ism NMF
La Risonanza + Coro Costanzo Porta Purcells Dido en Aeneas
di 1 mrt / 20.15 uur
Cécile McLorin Salvant + Metropole Orkest o.l.v. Vince Mendoza wo 2 mrt / 20.15 uur
Marc-André Hamelin Pianist en componist
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Unieke jubileumwandeling Muziekgebouw met app Curvices Speciaal voor ons 10-jarig bestaan maakte componiste Rosalie Hirs de poëzie- en klankinstallatie Curvices Amsterdam. Een unieke muzikale rondwandeling waarvoor u de gratis Curvicesapp kunt downloaden via de App Store, Google Play of iTunes. De app schakelt in zodra u rondom het gebouw een van de wandelzones betreedt. Een cadeautje van de componist waarvan u het hele jubileumseizoen kunt profiteren! Meer info: muziekgebouw.nl/ festival/10jaar Geheimtips Bijzondere concerten die je niet mag missen
Muziekgebouw aan ‘t IJ / foto: Erik van Gurp
MUZIEKGEBOUW AAN ’T IJ Piet Heinkade 1 / 1019 BR Postbus 1122 / 1000 BC Amsterdam Kaartverkoop T 020 788 2000 ma t/m za 12.00 -18.00 uur Kantoor T 020 788 2010 F 020 788 2020 E post@muziekgebouw.nl Zakelijke evenementen T 020 788 2023
Restaurant Zouthaven bevindt zich op de begane grond van het Muziekgebouw. Voor een heerlijke start van uw concertavond. Openingstijden en reserveren www.zouthaven.nl of T 020 788 2090 WORD VRIEND Steun het Muziekgebouw al vanaf € 75 per jaar. Lees meer op : muziekgebouw.nl/steunons
PARTNERS De activiteiten van het Muziekgebouw aan ’t IJ komen tot stand door steun van:
Gelieve te zorgen dat uw mobiele telefoon uit staat tijdens het concert. Camerabeeld- en geluidsopnamen alleen toegestaan met toestemming vooraf.
Mediapartner:
Pauzedrankje (indien inbegrepen) serveren wij op tafels bij de uitgang van de zaal.
Druk binnenwerk:
EARLY BIRD TICKETS Voor jongeren tot 30 jaar, bijna alle concerten € 10. Wees snel: hoe eerder, hoe meer kans. Lees meer op: www.muziekgebouw.nl/earlybirds
Reserveren en openingstijden restaurant Zouthaven: www.zouthaven.nl. Centraal Station (10-15 min lopen) is met tram 26 bereikbaar tot 00.00 uur. Taxicentrale Amsterdam: T 020 677 7777. De Piet Heinparkeergarage onder Muziekgebouw aan ’t IJ is 24 uur per dag open. Informatie + online kaarten bestellen www.muziekgebouw.nl. Ook voor onze nieuwsbrief.
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