Info about the 3rd Keuris Composers Concours and an intermezzo with our youngest composer: Vigdisje Verhees.
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Newsletter #13 - Summer 2017

As always, we are happy to share quite a lot of new pieces with you! Have a look in our webshop to find a variety of new compositions from all over the world! 
We are also very pleased to let you know what our members are up to; composing, performing, organizing events – read all about it and feel free to respond by sending us an email!
We wish you all a fantastic summer!

Did you attend a concert by an MA-C member? Are you planning an event yourself? Did you read something that you think all contemporary music lovers should read? Please let us know by sending us an e-mail. We are happy to place our members' content in this newsletter!
Don’t forget to place your concerts and events in the MatchingArts Collective Events Calendar! Events placed in our calendar will also be highlighted on Facebook, Twitter and in the newsletter.

The 3rd Keuris Composers Contest is looking for scores. Composers of all nationalities and ages are welcome to write pieces for 1) ensemble: violin, cello and piano OR 2) youth symphony orchestra. The Final Concert will be held on May 12th 2018 in Flint, Amersfoort, The Netherlands.

Deadline for compositions and application: February 1st 2018. See the website for rules and more info.

Featured compositions
Every month we'll put one of the MatchingArts members in the spotlight and tell you something about them and their work. 

Intermezzo with Vigdisje Verhees
In June, Vigdisje Verhees graduated with a major in music at the Edvard Munch upper secondary school in Oslo. She also graduated at the Young Talents program with a major in composition and cello at the Barratt Due Music Institute where she studied from 2011-2017.
Edition MatchingArts recently published Vigdisje’s piece ‘With a Delayed Train from Budapest to Beograd’. She composed the piece while she actually sat on the train on a tour with her family through Europe. When they took the train from Budapest it was some hours delayed and most of the tour it drove only 20 km per hour. Still, she enjoyed the meadows of Vojvodina as they passed the border of Hungary to Serbia. Vigdisje also found an interest in rhythmic structures that actually opened a whole new world for her. The piece is written for big band and singer and describes a reflection of the tour and a travelers’ curiosity of visiting a new and inspring place.
Vigdisje started to compose when she was around 3 or 4 years old and at the same time she got a big desire for the hand work of composing; seeing the possibility to write music in a system of five lines and all those dots that really made sense to her pitch when she found out what intervals where. She still has some early untitled compositions from 2002 in a drawing book.

Vigdisje's 'With a Delayed Train from Budapest to Beograd' is available in our webshop.


TENDERNESS by Muriel Boeke

Did you ever try to play violin without your shoulder-rest?
Maybe it brought you the same experience as me; pain, disorder, playing like for the first time and a blush of shame. After forgetting this incident you may have given it a try once more. With the same result; ending with the conclusion: This is not my cup of tea. Last spring I was in search for a new teacher. It brought me to Joan Berkhemer in Amsterdam. I played for him and he accepted me as his pupil. But... his way of teaching and playing the violin was without the shoulder-rest. Not like the baroque-specialists do, he told me, but in the modern way, like a lot of great artists and violinists did, like Heifetz, Elman and Grumiaux.
‘Okay, I will’, I must have been thinking. And this is one of the things I will never regret in whole my life. Joan gave me a first session ‘playing without’ and I was totally upside down. It felt like finding the right way to play for me. My whole body could participate without unnecessarily and disturbing movements. I had a direct and frank contact with my violin. I could feel the vibration of every string through my bones and... I had a terrible pain in my shoulders and neck for ten days. But still convinced I kept trying and followed the lessons from Joan.
Joan developed a method to play without shoulder-rest suitable for every kind of violinist. Professionals who played for half a century ‘with’, beginners who hardly know what a shoulder-rest means, violinist with broad shoulders and a short neck and even the more giraffe-like types.
His technical method, his patience and his fine lessons, combined with the feeling of freedom and real contact in violin playing gave me power to go through weeks of ‘the art of terrible violin playing’. Just before neighbors and family started to complain, it went better and my happiness grew. Playing without shoulder-rest demands an other lefthand technique. In the beginning intonation and vibration is like you never played before. But when you get better and better playing this way, you may never want to use a shoulder-rest again.
I advise you to visit the website from Mokum Symhony, the orchestra Joan Berkhemer conducts. There you can read more about playing without a shoulder-rest, about Joan Berkhemer himself and his inspirations. Maybe you want to visit him for an unforgettable lesson ‘playing without’.
You can also contact me because I am a teacher myself. Since my lessons from Joan I work with my pupils on playing ‘without’ in many ways. And there is of course the possibility you do not want to try it at all. Maybe it's just not your cup of tea. Then I only want to ask you: When you put your shoulder-rest at your violin before going to study or to perform, just think: It ís possible without...
For me, playing without is like a journey in music. A journey I make with my ‘naked’ violin, for which I feel a great love and tenderness.


Jeroen D'hoe is preparing a new work called 'Songs for the Crossing' to be premiered by the Brussels Philharmonic & Vlaams Radio Koor and soprano Hanne Roos in December 2017.

"Songs for the Crossing by Belgian composer Jeroen D’hoe, based on text by Stefan Hertmans, remind us of the infamous crossing of the Yser in Tervaete during World War I. But at the same time, the project could not be more up-to-date: ‘the crossing’ is a metaphor for the current migration of refugees all over the world."

DIVINE GUITAR PIECES by Bart Berman Demodokos

My name is Bart Berman Demodokos. I am a classical guitarist and composer. I am also a teacher of Latin and ancient Greek. 

I am now composing a series of guitar pieces, for semi-beginners to medium to advanced students of the classical guitar. The pieces represent Greek mythological figures: they are named after gods and half-gods and bear their characters. Each piece illustrates a different story and expresses a different set of emotions. Each of these études is meant to master a different technical issue. The mastering of a specific technical problem asks for repeating certain musical motives. For example, one of my études is, technically speaking, about the dynamics of echo and reflexion (inverted imitation). It is called Narcissus, the young man who falls in love with his own reflexion in the water, and drowns. The piece ends in a vanishing unisono. Listen to the soundtrack of 'Narcissus' here.

I want to publish a book of at least twenty of these études. Each piece will be accompanied by a little story and an illustration. If you are interested in my Divine Guitar Pieces, please contact me by email


By Ron Effrink

As a composer I'm an autodidact and I followed classes at Harold Schonewille. In 2016 my composition for orchestra 'The Traveler' was published by Edition MatchingArts. The Traveler was written for the Tristan Keuris contest of 2016. This composition is based on a poem. I’ve tried to translate the text into music. Another piece of music, 'Trio for violin, viola and cello in e',  was published in June 2017.
At the moment I'm working on another composition for orchestra. This composition has the title ‘Symfonic Etude’. It will be the basic of my idiom. Some parts of it are written in the pentatonic scale or the whole tone scale, and written in the chain form. The different parts have a sharp border. It is as if you are watching different parts of a movie or scene.
I’m also working on a composition for orchestra titled ‘Midsummer Night’s Dream’. It consists of 7 parts. 

See my website where you can listen to some compositions. It’s also possible to listen to 'The Traveler' and 'Trio'. If you want to contact me, you can send me an email.

The MatchingArts Collective newsletter is open for input from alle members. Did you attend a concert, play a newly written work, do you organise an interesting festival, hear about a composers contest or just want to share a thought? Feel free to send an email to
Highlighted Events

18: Opening Concert WASBE2017 - American Chamber Winds - Utrecht, Netherlands (Concert)

20: Nachtgeluiden - Aduarderzijl, Netherlands (Concert)
20: Muzikale Dierenverhalen bij de Brabantse Dag - Heeze, Netherlands (Concert)
23: Festival Brabantse Dag: Klassiek in Kerk en Kroeg - Heeze, Netherlands (Concert)

01: Nachtgeluiden - Kwintelooijen, Netherlands (Concert)
08: Nachtgeluiden - Wassenaar, Netherlands (Concert)
09: Open Air Concert RPhO - Rotterdam, Netherlands (Concert)
20: The Glasgow Connection - World Premiere of Peter Longworth's 'Jaunt - Scherzo for String Quartet' - London, United Kingdom (Concert)
22: Festival rond Andriessen en De Klerk - Haarlem, Netherlands (Concert)

For more events, check our calendar!

Become a member of MatchingArts Collective to post your own events on our calender.

Did you attend a concert with pieces by MA-C members and do you feel like sharing your experience? Or are you a musician and are you planning to play pieces by our members? Please send an email and we would love to get in touch with you!
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