“It is a beautiful morning. The grassy downs are sparking like myriads of diamonds. Sheep are placidly grazing around my tent. Satisfied with the prospect of getting both food and drink in the same mouthful and displaying their wooly youngsters with great pride.”

From April 6, ’44, England

The heart-wrenching letters of Lieutenant George W. Honts (1907–1944) to his beloved Evelyn Semenza (1915–2010), set to music by Alan Smith, run like a common thread through this concert, which can be seen as a tribute to our hard-worn freedom.

We performed the concert at Club Kalmthout, a church near Antwerp which was converted into a venue, as well as in Hoboken, also in Antwerp. We hope to perform it many more times.
The program, subject to change, features works by Alan Smith, Arvo Pärt, Joaquín Rodrigo, Manuel de Falla, and Eugene Ysaye. But also music by Sting, Wouters, Piazzolla, and Bob Dylan, arranged by Wannes van de Velde.

The KAOS Ensemble consists of Britt Truyts (vocals) and Lev Adamov (violin), with guest musicians Nathan Wouters (double bass) and yours truly.

Britt Truyts (soprano) is an opera singer who became passionate about programming when she began curating and performing in her own concerts. While continuing her opera career, she also presents video art performances in collaboration with composers and visual artists. In 2022, Britt Truyts made her theater debut in Looking for Habibi, a co-production of Toneelhuis (Belgium) and Dood Paard (The Netherlands). Truyts co-founded the KAOS Ensemble with violinist Lev Adamov. Their ensemble is known for its genre-defying programs, featuring unusual combinations of instruments and compositions.

Lev Adamov (violin) sometimes feels like the embodiment of the two wars that currently grip the world. He was born in the Soviet Union when Sint Petersburg was still named Leningrad, and became an American citizen of Jewish descent, growing up in the United States from the age of 12. He currently resides in Antwerp (Belgium). He is the father of two sons. One with an Iranian mother and one with a Latvian mother. To reconcile all these conflicting identities and emotions, Lev Adamov plays the violin. Renowned for his heartfelt and expressive interpretations and with his rare ability to connect deeply with audiences, his performances transcend cultural and geopolitical divides. Sincere and accessible, his artistry offers a powerful antidote to the conflicts of our modern world.

Esther Steenbergen (guitar) She is internationally recognized for her fresh approach to the repertoire. While still a student, she won first prize at the Maria Canals International Music Competition in Barcelona, Spain, after which she was overcome by doubts about life as a classical guitarist. She began her journey — at times desperate, at others filled with joy — along many twisted and unusual paths. She studied arts policy and cultural management, produced radio programs and concert series, and for a while even worked at an employment agency for stage artists. One day, she wondered how on earth she had ended up behind a desk in an office, and retraced her steps. Since then, in addition to playing the guitar, she has devoted herself to reading and writing, and occasionally organizing concerts and gatherings. She explores the art world with her protégé, runs an online museum — and occasionally a living-room gallery.

Nathan Wouters (double bass) initially played classical violin, just like his parents, but at the age of ten, he became fascinated by the woodcarving on the head of a double bass, shaped like a lion’s head. He wanted one of his own, and thus, the double bass became his instrument. Nathan Wouters studied in Antwerp and Gothenburg and now performs worldwide as a sidekick to a growing list of musicians, involved in numerous projects and bands. His personal development as an instrumentalist and composer is reflected in his collaborative project [ˈkɑːmos] with Finnish soprano Aino Peltomaa, as well as in his solo performances and recordings. These settings provide the perfect environment for him to experiment and work with live electronics, an element of his musical vocabulary since his teenage years.

CONTACT & MORE INFO

The recording took place quite a long time ago and the transcriptions I found in my Villa-Lobos file were far from proper, publication-ready scores, but more like working outlines, adjusted during the recording process.

I edited Nozani-Ná and out of curiosity searched for other versions on YouTube and Spotify. I wondered why I had never done that before, and only then I realized that the recording was made in 2005— the same year YouTube was founded!

“Nozani-Ná”, is a very short song, here adapted for guitar and voice, as recorded on the album with Tania. As you can hear, the repeat goes faster and faster. The middle part is for a small bell, preferably with a sounding g. If you use this version, I would very much appreciate it, you mention the transcription was made by me. But it’s probably more fun to make your own version, just like the one’s below have done.

Score

• Score Guitar and Voice
• Score Max Eschig

Text
Nozanina korekoa
Kazahete
Nozani noterahan oloniti
Noteraha(n) kozetoza
Notera kenaikia
Nehena Walalo
Xidjahalo

I was asked to play Spiegel im Spiegel by Arvo Pärt in an arrangement. My part consisted of the right hand of the piano only. The structure of this seemingly very famous composition turned out to be very clear. I couldn’t help myself making a challenge of writing it down with the minimum of bars. This is the result.

Page 1 = A. Page 2=B. Top line is played by the violin. Play A1, B1, A2, B2 etc. Read uneven numbers from right to left. Even numbers from left to right. The complete score ↗︎ is available at the Arvo Pärt Centre.

“Everything redundant must be left aside. Just like the composer has to reduce his ego when writing the music, the musician too must put his ego aside when performing the piece.”
Arvo Pärt

For 25 years, I have been the organizer of Meesters op de Gitaar, the international classical guitar series at the Royal Concertgebouw in Amsterdam. Throughout this time, I have often been surprised by the ways guitarists present themselves both to me and the audience. Intrigued about their choices I have transformed my experiences and reflections into a lecture.

The lecture covers a range of topics, like biographies, promotional photos and effective collaboration with a manager. It delves into ways for capturing the attention of programmers and navigating the pitfalls and possibilities within the guitar festival circuit.

I have tailored its content with classical guitarists in mind but I am confident that the lecture holds valuable insights for singers, other instrumentalists and industry representatives as well.

This lecture is particularly beneficial for those who aspire to establish or enhance their careers on the international concert stage.