Do 30 mrt 2017 Grote Zaal 20.15 uur
Donderdag avondserie
Nieuw Ensemble An Evening of Today 2017
Programma
Donderdag avondserie Serie Nieuw Ensemble
Nieuw Ensemble An Evening of Today 2017 Ryan Bancroft dirigent Nieuw Ensemble: Harrie Starreveld fluit Ernest Rombout hobo Anna voor de Wind klarinet Hans Wesseling mandoline Helenus de Rijke gitaar Ernestine Stoop harp Paolo Gorini piano Herman Halewijn slagwerk Emi Ohi Resnick viool Frank Brakkee altviool Jeroen den Herder cello Dario Calderone contrabas Marcelo Politano quena (in Gingas n2) Gabriel Milliet quena (in Gingas n2) Ilse Evers dans (in White-Grey-Black)
Do 30 mrt 2017 Grote Zaal 20.15 - 22.50 uur ca. 45 minuten voor de eerste pauze ca. 40 minuten voor de tweede pauze ca. 20 minuten na de tweede pauze
Inleiding Foyerdeck 1 19.15 - 19.45 uur Joël Bons in gesprek met de componisten Dit concert is mede mogelijk gemaakt door het Amsterdams Fonds voor de Kunst en de Kleyn Foundation.
Jerboah: (in Elementen) Sarah Jeffery blokfluit Josephine Bode blokfluit Dodó Kis EWI Jornt Duyx elektrische gitaar Marcos Baggiani drums Laura Spark, Yael Levi en Emile Frankel video James Murray licht Bent u niet vergeten uw mobiele telefoon uit te zetten? Dank u wel.
2
Marcelo Politano (Brazilië) Gingas n2: Peabiru (2017) Simon Knighton (Engeland) Barcodes Animation by Laura Spark Yael Levy (Israël) White–Grey–Black for ensemble and dancer Pauze* Carlo Diaz (Verenigde Staten) visions of small-minded Men Emile Frankel (Australië) Uttering a Forged Instrument / From Worm to Crying Moth Pauze Brechtje (Nederland) Elementen We verwachten een internationaal publiek. Daarom is ervoor gekozen de toelichtingen en de biografieën in het Engels te plaatsen. * I.v.m. een zaalombouw verzoeken wij u uw spullen mee te nemen.
3
Introduction 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 An Evening of Today biedt de ruimte aan de talentvolste creatieve geesten van vandaag. In samenwerking met de ervaren musici van het Nieuw Ensemble treedt een nieuwe lichting componisten buiten de bekende kaders. Waar de een zich buigt over nepnieuws, kijkt de ander omhoog de kosmos in. Onverwachte klanken, dans, videoanimatie, instrumenten uit andere culturen, een rock band... An Evening of Today betekent met zes premières een avond vol afwisseling.
An Evening of Today is a collective creative event in which young professional composers collaborate with the musicians of the Nieuw Ensemble to offer two evenings of musical diversity using the halls of Muziekgebouw aan ‘t IJ Amsterdam and Korzo The Hague. Through musical and visual means, lighting, and theatrical elements, the composers and production team work together to present an evening of live and immersive contemporary music, offering to the audience an exciting glimpse of 2017’s new music scene. aneveningoftoday.com
4
Programme Notes Marcelo Politano Gingas n2: Peabiru An ancient path snakes its way across South America, obscured now by highways, train tracks and vast stretching cities overshadowing the path’s natural landmarks. Historical writings of the 16th Century describe a path covered of grass linking the Atlantic to the Pacific Ocean called Peabiru (in the Tupi language, ‘pe’ – path; ‘abiru’ – stepped grass). This network of paths was used by early colonizers from the 1520s onwards who were hungry for the gold and silver that was rumored to be around. The designation of Peabiru was first documented by the Jesuit Pedro Lozano in his work History of the Conquest of Paraguay, Rio de la Plata and Tucumán, in the early 18th Century. However, some scholars suggest that the term was already being used in the Captaincy of São Vicente soon after the arrival of the Portuguese in Brazil in the 16th Century. The main road of this network of paths constituted in a way that connected the Andes to the Atlantic Ocean. More precisely, Cusco, in Peru, to the coast of São Vicente (current province of São Paulo) in Brazil, extending for about 3,000 kilometers, crossing the territories of the Peru, Bolivia, Paraguay and Brazil. Apart from its rich colonial history, the Peabiru is still a sacred path revered by the contemporary Amerindians, specially the
Guarani people. The journalist Rosana Bond, reports that the ancient Guarani followed the Peabiru paths and then the pre-Inca paths in the West to reach the Pacific coast in the 6th Century and that some groups of Amerindian pilgrims were found to have walked westward along Peabiru till the Atlantic coast. According to historical reports, the route in the Brazilian territory passed through the regions of the present cities of Foz do Iguaçu, Alto Piquiri, Ivaí, Tibagi, Botucatu, Sorocaba and São Paulo until arriving in the region of the present city of São Vicente. Well known streets and avenues in the city of São Paulo, such as Consolação and Rebouças avenues, were actually ramifications of the Peabiru that connected the southeast Atlantic coast to the south Atlantic coast. Scholars currently disagree about the origins of the path, some attribute it to the Amerindians from the linguistic group Gê, others to the Guarani people, sometimes it is also mentioned in association with the Incaic Empire. Despite all mystery and lack of information that surrounds the issue, I tried to musically translate my ideas of Peabiru to the score by creating a propitious amalgam of the South American and the Nieuw Ensemble universes, meaning the combination of the Nieuw Ensemble sound pallet with the Andean one, through the use of instruments such as the quena, chajchas and the charango. The dialogue between these worlds happens in an ambient of musical interaction that melts different historical times of Peabiru in a singular experience. 5
Programme Notes
Simon Knighton Barcodes I developed a piece of music designed to be played with an animated graphic score (to be projected behind the ensemble during the performance). The purpose of this score is to heighten the experience for the audience rather than be something that the musicians could play from. I believe that reading a score whilst listening to a piece can greatly improve the enjoyability and comprehension of the music, which leads me to think that people who can’t read notation are at somewhat of a disadvantage when listening to some classical and contemporary music. Addressing this I looked for a way to incorporate the graphic score idea into the concept of the piece itself, to give the piece a strong visual element that hopefully heightens certain musical features subconsciously whilst lending something to the meaning of the piece as well. Through the collaboration process, Laura Spark (animation) and I came up with an idea for the animated segments: a person who, over the course of the composition, turns into a ‘code’ and then back into a person. This is an abstract reference to modern forms of communication: how people’s thoughts and ideas are fed into machines which are then regurgitated into various digital forms; the resulting output invariably changed, simplified or distorted in 6
the process. The piece begins with a simple melody which is broken down through more traditional composition techniques before being rebuilt again through electronic production techniques in the third act. The style of the music was influenced, in part, by old film music, electronic dance music and pianola music.
Yael Levy White-Gray-Black White-Gray-Black explores different levels of audiobility and visibility through movement, light and sound. The different levels are organized in a shape of a spinning circle. The rotation of this circle covers and reveals the essence of the sonic and the visual materials. Throughout the piece, the movement of the circle is expressed through various scales and in different medias. Choreography and dance is by Ilse Evers.
Carlo Diaz visions of small-minded Men Visions of small-minded Men draws on my relationship with pan-European and American brass band music at the turn of the 20th century – the short, fast, chipper marches of the era when industrialization
Programme Notes
was thrusting Western economies into dangerous territory and nationalism was pushing to levels that would culminate in the devastating World War era. When I began to listen to this type of music it was merely an ironical and amusing interest. I was charmed by its indomitable optimism and general softness and by the irresistibly nostalgic picture it creates for the beginning of a promising new century. But after repeated listening I began to understand that the music is not innocent. I now understand this music to also be the propaganda of war mongers who caused irreparable damage to Western society in the first World War. This piece attempts to hear and love the joy of home in march music while also hearing and reprimanding its aggression and protectionism. Can we express love for our respective homes and cultures without assaulting the homes and cultures of others? With this piece I want to make the statement that, though the artifacts of nationalism can be beautiful and tempting, they can also be incredibly dangerous if carried too far. We can and should indulge in them from time to time but we must always be wary – especially in the current political context. Each movement is based on an existing march or nationalistic song from the era between 1880 and 1920. The raw materials of the original marches are sometimes rearranged and tenderly spun around in a circle, sometimes stripped to the driest and most barren accompaniment, and sometimes folded
up into the tiniest imaginable space. The aggression of march music – most prominent in its speed and loudness – is rendered impotent. The speed is increased to a point of impossibility and stupidity and the loudness is thwarted by heavy mutes and the unfortunate theft of drumsticks so that the percussion must be played with bare hands alone. The supple joy of march music - most prominent in rich and well-balanced harmony, indomitably tuneful melodies, the supersmooth tone of conical brass, and a crisp, clean rhythmic drive - is worshiped. The bowed strings play widely-spaced harmonies, run their bows over the warm, earthy realms of string above the fingerboard, and gently tap wood and flesh against their open steel strings. Aggression is rendered impotent and then coerced into an unfamiliar new world of delicacy and gentility.
Emile Frankel Uttering a Forged Instrument / From Worm to Crying Moth Dear Device, This tiny image is a picture of my brain. God it’s DUSTY in there.. I see you outside, looking straight through my window. *does a small wave from these ruins* In the future instrumentalized silk worms are fed carbon nanotubes. Their super-strong silk incites manufacturing, medical and 7
Programme Notes
consumer breakthroughs. Yet new natures can, and are tortured in new ways. Born form their chrysalides – a breed of mutant and lonely moths. Their voices hollow frames for emotion (tremble) news readers of the year 2022 (tremble) communicative bankruptcy (tremble) machine-learned language ticking gloomily through the dust. My bedroom looks so refined, don’t you think? Those colours.. Exquisite! I don’t want to fish for compliments, but errm.. My organs feel rearranged by an interior decorator’s superstitious ordering. Lipid-filled-fat strung out to make room for a speculative future. *does a cute grimace*
Brechtje Elementen Elements (or in Dutch Elementen) is inspired by the rise of the elements after the Big Bang. This was an incredible process in which an extremely hot cosmos core expanded, cooled down and in this way gave a chance for the smallest particles to unite and form the first elements. In my imagination, this has been a process in which the cosmos developed ‘shells’. Every shell was characterized by a new 8
combination of density and temperature, creating the perfect environment for a new element to originate. Musically, this inspired me to compose strongly distinguishable characters that simultaneously have clear mutual connections: a set of musical characters that form each other’s predecessors and successors. It will be exciting to join the forces of the Nieuw Ensemble and my group Jerboah in this context. Elements will lead us from the boiling regions where only quarks and gluons are pingponging around to the outer shells where unimaginably large elements prosper in an ice-cold vacuum. Along the way, we’ll gaze over the stable, almost static landscape of hydrogen and helium and we’ll see light flashing by. This performance will also be my first attempt in the field of scenography, aiming to create a flipped-over starry sky in front of your eyes.
Biographies Composer profiles Marcelo Politano
Foto: Fernanda Serradourada
Marcelo Politano (Brazilië) is based in Amsterdam since 2015. His music tries to explore an enriching and colourful dialogue between local singularities and human universalities. Marcelo obtained his bachelor’s degree in jazz saxophone at the University of São Paulo (UNICAMP) in 2012 and then continued his
studies in composition at the Conservatoire of São Paulo (EMESP) with the Brazilian composers Rodrigo Lima and Silvio Ferraz. His artistic production consists of works for chamber ensembles, soloists and symphonic orchestra, having already worked in the Netherlands with the Atlas Ensemble and the Symfonieorkest Conservatorium van Amsterdam. From 2007 till 2014 he could learn more about South American folk music by playing along with traditional musicians from Argentina, Bolivia, Brazil, Chile and Ecuador in the Chasky Project and from 2012 to 2015 he was a member of Obra Aberta, an important Brazilian ensemble of experimental music. He is currently finishing his master studies in composition at the Conservatorium van Amsterdam where he is taking classes with the Dutch composer Joël Bons and the Belgian composer Wim Henderickx.
Simon Knighton
Simon Knighton (1984, England) primarily creates live and recorded music for performance, contemporary dance and theatre. After studying Music Technology he set up a community based recording studio gaining many years of production experience. Simon developed his own composing method from this studio setting; regular collaboration with musicians and artists from the local community facilitated his practice into many new and unknown areas. This nursed 9
Biographies
a broad-minded, flexible and practical approach to music creation across multiple genres, styles and disciplines: from composing to specific commission briefs, to the development of audio-visual street theatre, to producing/ mixing other people’s music for commercial purposes. A key element of his aesthetic is merging aspects, elements and sounds particular to traditional music composition with elements particular to electronic music production. Elements from contradictory styles, genres, disciplines and cultural personalities are presented in new contexts; for instance the manipulation of acoustic instrumentation in the digital domain, or the use of unusual instrument combinations in the live domain. Simon is currently studying for an MA in Composition at the Conservatorium van Amsterdam with Joël Bons and Willem Jeths.
Yael Levy Yael Levy (1983, Israel) is a composer, performer and 10
visual artist. She studied composition in Israel with Dr. Hagar Kadima between 2007 and 2011 and completed a Bachelor of Arts in music education and choir conducting at the Levinsky College of Education, Tel Aviv.
models which emerge from the combination of music composition, visual art, performance-art and theatre. Levy is an active member of several creative groups, including GoedLaak Music Collective, KHZ Kollektiv, and the Catchpenny Ensemble, which focuses on multimedia works and collective composition. yael-levy.weebly.com
Carlo Diaz
Foto: Nikos Kokolakis
Subsequently, she obtained a Bachelor of Arts in composition, with Gilius van Bergeijk and Yannis Kyriakides and a Master of Arts in music composition as well with Yannis Kyriakides and Justin Bennett at the Royal Conservatory in The Hague (2011-2016). In her works she explores new
The work of Carlo Diaz (USA) variously explores the physicality of historical, rudimentary, and simplified instruments and the relationship between music, history, body and place. He often considers the rhetoric of historical musical cultures as a way of highlighting our continual relationship to the past. His music has been performed in Chicago, Los Angeles, Pavia, and Amsterdam in co-operation with Ensemble Linea, wild Up, the Los Angeles Philharmonic Orchestra’s
Biographies
National Composers Intensive, the highSCORE New Music Festival, Make Music Chicago, the Bienen School of Music, the Conservatorium van Amsterdam, Studio 22 Productions, and Continental Players.
Foto: Wilson Tanner Smith
(HIP) movement and contemporary culture, composition, and interpretation through the formation of an ensemble of historical and contemporary instruments. In autumn 2014, he spent a semester studying visual cultures and composition with Patricia Alessandrini at Goldsmiths College, University of London, and in summer 2015 he returned to the U.K. to conduct historical musicology research at the British Library and the London Metropolitan Archives regarding the Jew’s harp in early modern England. He completed his Bachelor of Music in composition and interdisciplinary arts at Northwestern University in 2016. carlodiaz.com
He’s currently pursuing a Master of Music in Composition at the Conservatorium van Amsterdam, where he studies with Wim Henderickx and Willem Jeths. His research for this degree considers the relationship between the historicallyinformed performance
Emile Frankel Emile Frankel (1993, Australia) was born in Melbourne and completed a Bachelor of Music under the primary guidance of Stuart Greenbaum and Elliott Gyger. Achieving
First Class Honours and the highest academic results in composition, he was awarded the Lionel Gell Foundation Scholarship.
His work has been performed around Australia including premiers at The Melbourne Recital Centre and Melba Hall. Currently in his second year of Master’s at The Royal Conservatory in The Hague, Emile has had Dutch debut performances by Orkest de Ereprijs and New European Ensemble. In 2015-16 he was an invited participant of the Young Dutch Composers Meeting in Apeldoorn, Labo #5 in Antwerp, and 11
Biographies
VERANTWORTUNG3000 in Berlin. Through study with Martijn Padding, Peter Adriaansz and Yannis Kyriakides, Emile’s idiosyncratic style has evolved towards large elaborate performances - combining narrative, video, and lingering sonic backdrops. His research explores the changing conditions of online listening, and the construction of speculative-fiction in sound – representational music projecting towards a dystopian future.
(AUS) and Operadagen Rotterdam. Brechtje regularly initiates projects like the concert series CTRL+N that formed a platform for young composers, the interactive installation named the Facechord Factory that transforms facial scans into music chords and the artrock band Jerboah (jerboah. com). This group, consisting of six musicians with the instrumentation of voice, recorders, EWI, electric guitar and drums, will release ten singles this year.
Brechtje Brechtje (1993, Nederland) is a composer and singer, based in Amsterdam. She is a musical omnivore, with a particular passion for South Indian rhythms, Stravinsky, and Zappaesque rock. Upcoming compositions are commissioned and programmed by the Nederlands Jeugd Orkest, Grachtenfestival, the Nederlands Blazers Ensemble, Dots+Loops Festival 12
Foto: Lieke Romeijn
In 2017, Brechtje will complete her studies as an undergraduate student
in composition at the Conservatory of Amsterdam. Here she studies with Joël Bons and Richard Ayres. Additional programs Brechtje attended, include the World Music Residency 2015 in Banff Centre (CA), the Young Composers Meeting 2016 (NL) and the Bang on a Can Summer Festival 2016 (USA). brechtje.net
Biographies
Performers Ryan Bancroft Conductor Ryan Bancroft is a conductor and instrumentalist who is deeply dedicated to the creation and curation of modern music. He has assisted Pierre Boulez in a performance of his Sur Incises with the Los Angeles Philharmonic, premiered works by Sofia Gubaidulina, John Cage, James Tenney, Anne LeBaron, and has worked closely with improvisers such as Wadada Leo Smith and Charlie Haden. Ryan earned his BFA and MFA from the California Institute of the Arts in trumpet with side studies in harp, flute, Ghanaian music and dance, and ballet as well as receiving a MMus with distinction from the Royal Conservatoire of Scotland in orchestral conducting where he actively conducted orchestras such as the Royal Scottish National Orchestra,
BBC Scottish Symphony Orchestra, and RedNote. In Scotland he was also active as a trumpet player with the BBC Scottish Symphony Orchestra. He is currently involved in the Nationale Master Orkestdirectie through the Conservatorium van Amsterdam and the Koninklijk Conservatorium Den Haag where he is given the opportunity to work with several Dutch and European orchestras in capacities such as assisting, masterclasses, and performances. His main mentors are Edward Carroll, Kenneth Montgomery, Ed Spanjaard, and Jac van Steen.
13
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 14
Prize for their ‘markedly lively and adventurous programming which can be described as groundbreaking, both in the literal and figurative senses of the word’. The ensemble introduced a large number of non-Western composers in premiere programmes focussing on Japan, the Caucasus, the Middle East and Central and South America. Other highly successful programmes have been those dedicated to the work of a single composer, such as Berio, Boulez, Carter, Donatoni, Ferneyhough, Kagel, De Leeuw, Ligeti, Kurtág, Loevendie and Nono. www.nieuw-ensemble.nl
Biographies
Foto: Kadir van Lohuizen
15
Verwacht
Donderdag avondserie Do 20 apr 2017 Grote Zaal 20.15 uur
Nieuw Ensemble Just Playing Componisten zijn altijd gefascineerd geweest door spelen en spelletjes. Debussy schreef Jeux, Lutosławski Jeux Vénétiens en eeuwen voordat John Cage zijn werk liet meebepalen door de I Ching gooide Mozart al met dobbelstenen. Met tien speelse stukken brengt dit programma een bont gezelschap componisten van zeer divers pluimage bijeen. Spel en kunst hebben het element van spontaniteit gemeen, óók hebben beide te maken met afspraken en vorm. Zo heeft een spel regels waaraan de spelers zich moeten houden, anders is het spel snel afgelopen of verpest. Sterker nog: voor elk stuk ontwerpt een componist zijn eigen spelregels. Programma: Theo Loevendie Aulos / Karlheinz Stockhausen Kreuzspiel / Tom Johnson Plucking / Misha Mengelberg Beestebeest versus Hertie / Bruno Maderna Serenata per un satellite / Gérard Pesson Carmagnole / Guus Janssen Pogo IV
16
Misha Mengelberg
Serie Nieuw Ensemble Seizoen 2017 – 2018 Het Nieuw Ensemble is een nationaal en internationaal toonaangevend ensemble voor hedendaagse muziek, geprezen om de baanbrekende programmering en vernieuwing van het repertoire met circa 700 in opdracht geschreven composities. Tokkelinstrumenten vormen het karakteristieke hart van het ensemble, chef-dirigent Ed Spanjaard. Speciaal onderdeel van deze serie is een kamermuziekconcert door een vijftal topmusici van het Atlas Chamber Ensemble. za 16 sep 2017 Atlas Chamber Ensemble Makam, Mugam & Raga
do 29 mrt 2018 Nieuw Ensemble Première
Makam, Mugam & Raga is een programma, uitgevoerd door vijf sterspelers van het Atlas Chamber Ensemble, rond de eeuwenoude muzikale tradities van Armenië, Azerbeidjan, India en Turkije.
Een hoogtepunt van de Cello Biënnale 2016 was de première van Nomaden van Joël Bons door cellist Jean-Guihen Queyras en het Atlas Ensemble. Dirigent Ed Spanjaard vroeg Bons opnieuw een avondvullend werk te componeren.
do 5 okt 2017 Nieuw Ensemble Omwentelingen Artiesten zijn vaak sterk betrokken op de wereld waarin zij leven. Dit concert biedt een podium aan componisten die willen reageren op de actualiteit. do 15 feb 2018 Nieuw Ensemble An Evening of Today 2018 Een programma voor iedereen die nieuwsgierig is naar de muziek van een nieuwe generatie musici.
17
Verwacht
Maart vr 31 mrt / 20.15 uur #tristanisolde Silbersee + Spr¡tzl
April za 1 apr / 19.00 uur Abdel Rahman El Bacha 72 preludes van Bach, Chopin en Rachmaninov zo 2 apr / 15.00 uur Liza Ferschtman Wat is het geheim van viool met dans? (8+) zo 2 apr / 20.15 uur Combattimento Passie volgens Pergolesi
World Minimal Music Festival wo 5 t/m zo 9 apr Zie voor het volledige programma www.muziekgebouw.nl/festival/ worldminimal
wo 5 apr / 16.30 uur Asko|Schönberg Openbare repetitie De Materie 18
wo 5 apr / 20.15 uur Asko|Schönberg De Materie UITVERKOCHT do 6 apr / 20.15 uur Ensemble Klang, Nieuw Amsterdams Peil + Lavinia Meijer Coming Together vr 7 apr / 20.15 uur Dubbelconcert: The Master Musicians of Jajouka led by Bachir Attar + Midori Takada World Roots za 8 apr / 13.00 uur Bram van Sambeek + Fagotklas Koninklijk Conservatorium Rushes za 8 apr / 15.00 uur Weeshuis van de Nederlandse Muziek Parels uit de muziekgeschiedenis
zo 9 apr / 15.00 uur The Theatre of Eternal Music Brass Ensemble The Second Dream zo 9 apr / 20.15 uur Cappella Amsterdam Arvo Pärts Kanon Pokajanen UITVERKOCHT wo 12 apr / 20.15 uur Amsterdam Sinfonietta Hommage aan Boccherini do 13 apr / 20.15 uur Ensemble Musikfabrik Zappa’s Tapes
Huil van de Wolff
za 8 apr / 20.15 uur Dubbelconcert: Mark Ernestus’ Ndagga Rhythm Force + Ensemble Klang Trance
Elke 22e van de maand klinkt om 20.00 uur het geluidsmonument Huil van de Wolff. Martijn Padding componeerde deze interactieve geluidsinstallatie ter herinnering aan oprichter van het Muziekgebouw Jan Wolff (1941 - 2012). Zie voor meer informatie muziekgebouw.nl/ huilvandewolff
zo 9 apr / 11.00 uur Lavinia Meijer Behind the Telescopes (6+)
Geheimtips Bijzondere concerten
za 8 apr / 16.30 uur Suzanne Ciani Prima donna van de Buchla-synthesizer
Foto: Erik van Gurp
Restaurant Zouthaven Kom voor het concert eten in restaurant Zouthaven. Reserveren: 020 788 2090 of zouthaven.nl
Rondom het concert - Na aanvang van het concert heeft u geen toegang meer tot de zaal. - Zet uw mobiele telefoon uit voor aanvang van het concert. - Het maken van beeld- of geluidsopnamen in de zaal alleen met schriftelijke toestemming. - Algemene Bezoekersvoorwaarden zijn na te lezen op muziekgebouw.nl
Bij de prijs inbegrepen Reververingskosten en garderobe zijn bij de kaartprijs inbegrepen. Ook een pauzedrankje, tenzij anders vermeld op uw concertkaartje. Bij concerten zonder pauze staan drankjes klaar na afloop van het concert.
Steun het Muziekgebouw Inkomsten uit kaartverkoop dekken ten dele onze kosten. Word vriend of doneer: met uw extra steun kunnen we concerten op het hoogste niveau blijven organiseren. Meer informatie: muziekgebouw.nl/steunons
Op de hoogte blijven? Blijf op de hoogte van nieuw geboekte concerten of ander nieuws. Volg ons via onze e-nieuwsbrief (aanmelden op muziekgebouw.nl), Facebook, Twitter of Instagram. Dank! Wij kunnen niet zonder de steun van onze vaste subsidiĂŤnten en Vrienden van het Muziekgebouw. Wij zijn hen daarvoor zeer erkentelijk.
Druk binnenwerk
19