In the past week, the DVS has taken to the new online medium with a “doubleheader” of workshops related to avoiding / reducing / treating the long term health issues associated with viola playing.
The first workshop, poetically titled “Finding Fabulous Freedom (with a viola in your hand)” was brought to us by Ásdis Valdimarsdóttir, with insights derived and developed from Body Mapping and Alexander Technique.
Ásdis worked through a number of examples relating to posture, left and right arm motions, based on mechanical principles of (skeletal and muscular) anatomy. She demonstrated clearly awkward and potentially unhealthy practices (some of which, sadly, are dangerously close to certain “style schools” of violin/viola technique) compared to natural and mechanically balanced alternatives. Accessories to her presentation included various illustrations from slides, and even a good old-fashioned dummy skeleton to help make her points. She also got the crowd in motion with exercises, with and without a viola. It was quite a sight to behold all participants in their tiny digital viewports performing these exercises!
The second workshop followed one week later, presented by Laura Kok: “How to deal with injuries – Medical empowerment for viola players“. Laura is an orthopaedic surgeon specialised in prevention and treatment of musicians’ injuries, and she has completed a full conservatory viola degree as well.
She gave a very interesting overview of the various health issues commonly seen for instrumental musicians (and violists in particular), ranging from physical to “psychosocial” issues – including a very telling comparison of the parallels and differences between musicians and athletes. In particular, athletes have much better medical and psychological support in general, and in the musical world it is even somewhat of a taboo to admit to or even discuss injuries (this last point was brought up by Ásdis as well).
Laura highlighted the orchestra musician in particular as someone who has a very low degree of personal influence on his/her working environment – being consistently dictated when, what, and how to play. This lack of control puts the musician at considerable risk of stress, burnout and injuries. And a musician’s career is much longer than an athlete’s, a full lifetime of sustained “wear-down” of their bodies. Not to mention stress related symptoms such as anxiety, sleeplessness, etc.
Both workshops were widely appreciated by those who attended.
For those of you who missed it: If you are interested in more details about these workshops, please contact us at mail@dutchviolasociety.nl – we will gladly send you more information, including links to recordings of the workshops.
This was the first time we tried to do interactive workshops online via zoom. During these workshops we had as many as 56 participants simultaneously online in the session, logging in even from overseas (USA, UK, etc.). This immediately verified to us that we have a truly international reach – so different from the physical and inherently “local” events of pre-COVID times.
The 8th Amsterdam “Hindemith” Viola Festival and National Viola Competition has just been formally announced by the Conservatory of Amsterdam. This year’s edition has been assigned the additional attribute “Hindemith Viola Festival”. Both the festival programming and the repertoire for the viola competition will be strongly accentuated by the works of the German violist-composer Paul Hindemith (1895-1963).
Hindemith image: see attribution below
SAVE THE DATE(s): November 20th-27th, 2021
The DVS will once again contribute to the programming, in particular we plan the biannual National Viola Gathering on the final evening of the festival.
*Hindemith image: By Foto vom Hindemith-Institut als Rechteinhaber unter GFDL zur Verfügung gestelltHochgeladen nach de.wikipedia von de:Benutzer:Axel Hindemith, CC BY-SA 3.0, Link
Laura Kok is an orthopaedic surgeon specialised in treating injured musicians. After obtaining her masters degree in both medicine and viola (Royal Conservatory, The Hague), she continued to combine her experience of these two working areas. After finishing her PhD ‘Musculoskeletal health in musicians: Epidemiology and biomechanics’ in 2018, she initiated the ‘musicispreekuur’, an outpatient clinic dedicated to provide high level healthcare for musicians in the Spaarne Hospital (Haarlem).
Injuries are part of a professional career in music, especially if you play the viola. Of all instruments present in the symphonic orchestra, the viola is the one which brings the highest risk of getting injured: up to 90% of the viola players has at least one injury every year. So it is time to accept that injuries come together with the instrument and to start working on how we could optimally deal with them.
The aim of the workshop is to empower you to take the lead in creating a healthy playing environment. During the workshop we will work on the following topics:
– What is an injury and why do we get injured? What injuries are common among viola players?
– How to influence the occurrence and course of an injury? What is the relation between body and mind with respect to injuries? And how can we use this knowledge to prevent problems?
– And finally, we will talk on how to make sure you are getting the most optimal care in case you are injured. How can we collaborate with healthcare providers, in order to optimise the results of the treatment?
Date: Saturday, March 13th, at 14:00h Place: Online, Jitsi Meet (registered participants will receive a link) Language: The workshop will be given in English Costs: Voluntary financial donation, we suggest €10,- Registration: Use form below
Workshop registration no longer possible
P.S. You may also find the following related workshop interesting:
March 6th, 2021: “Finding Fabulous Freedom“, with Asdis Valdimarsdottir
De jonge nederlandse altvioliste Dana Zemtsov begint dit voorjaar aan de opname van een album met nederlandse altvioolmuziek, waaronder de concerten van Badings en Koetsier, met Phion (Philharmonie Oost- Nederland) en dirigent Shizuo Kuwahara. Ook neemt ze de altvioolsonate van Badings op met pianiste Anna Fedorova.
Om het project financieel rond te krijgen, heeft ze met steun van de Zemtsov-stichting een crowdfundingcampagne gestart. Reden voor de DVS om telefonisch even contact te zoeken om wat meer te weten te komen hierover. Ik tref Dana aan in de koffiepauze van een hectische Zemtsov masterclassweek, die dit jaar voor het eerst geheel virtueel plaats vindt.
DVS: Wat een spannend project – op welke termijn gaat dit gerealiseerd worden, als de crowdfunding slaagt?
We gaan nu in maart al opnemen, Channel Classics (haar label, red.) heeft bijna alles al geregeld. Ik moet wel zelf de kosten voor de dirigent en de uitvoeringsrechten dragen, en het liefst zorgen voor een beetje promotie. Want vooral voor dit soort onbekende concerten heb je een beetje extra aandacht nodig. Daarom is het PR-budget zo hoog. Als we minimaal €7,000 ophalen, dan kunnen we de CD al in het najaar klaar hebben.
DVS: Hoe is dit idee ontstaan, en waarom is juist nu een goed moment om door te pakken?
We hebben al heel lang gepraat over dit idee, zowel de directie van Phion en chefdirigent Otto Tausk waren al ontzettend enthousiast over dit project, en we waren al een tijdje bezig om een datum te zoeken. Normaal had ik nog lang kunnen wachten op een beschikbaar orkest, maar “dankzij” de Corona-pandemie hebben de orkesten geen concerten, terwijl ze wel budget hebben voor projecten. Daar valt ook opnamewerk onder, dus nu kon het opeens. Dus moest ik ook opeens heel snel gaan studeren om op tijd klaar te zijn!
DVS: Maar deze week heb je niet zoveel tijd om te studeren…?
Nee, door de Zemtsov Masterclassweek, met 45 deelnemers (en dus bijna evenveel keer lesgeven) – mijn eigen studeersessies moet ik nu een beetje tussendoor inplannen.
DVS: En waar wordt het allemaal opgenomen?
In Muziekcentrum Enschede. En ik ga nog met Anna (Fedorova) de sonate van Henk Badings opnemen in de Stadsgehoorzaal Leiden.
DVS: Dus er staan drie stukken op het programma: Het Concertino van Koetsier, het concert van Badings en de sonate van Badings.
Precies, en ook nog de Pavane van Arne Werkman, waarvan de pianobegeleiding in dit geval georkestreerd is. Dat wordt een mooie “extra”. Dus alles bij elkaar is het echt een Nederlands project.
DVS: Hoe ben je in aanraking gekomen met het concert van Badings?
Ik heb het voor het eerst echt live gehoord met Nobuko Imai als soliste, dat was echt geweldig. Ik was toen nog maar 13 jaar oud of zo, maar ik dacht gelijk “wow, dit is een heel goed stuk!”. Het concert bevat veel klankexperimenten, met clusters en kwarttonen, octatonische toonladders, en etnische elementen (bijvoorbeeld gamelanmuziek, Badings was geboren op Java – red.).
DVS: En de sonate van Badings, heeft die verbindingspunten met zijn altvioolconcert?
Nou, de sonate is eigenlijk heel anders, de stijl is meer impressionistisch, bijna romantisch. Het tweede deel van de sonate en het concert lijken ergens wel een klein beetje op elkaar. Maar de sonate is ook heel bijzondere muziek, het heeft ook die magische sferen van Badings, waar je “stiltes” hoort in combinatie met harmonieën, zoals een kwint die verdwijnt in een stilte. Dat heeft hij in het concert ook wel. En er zijn ook karakter-overeenkomsten: Het derde deel van de sonate is heel pittig, een soort duivels dansje; soms een beetje onhandig geschreven voor altviool, veel “tussen de noten” en heel snel. Ik ben heel benieuwd wat mensen vinden van dit stuk, wat mij betreft verdient het een plek in het repertoire. Een heel dynamisch stuk.
DVS: Het Concertino van Jan Koetsier, dat wordt een ware CD-première?
Ja, dat is echt een ontdekking – soms denk je bij dit soort onbekende stukken, dat er misschien een reden is waarom het niet eerder opgenomen is. Maar bij dit stuk kan ik geen muzikale redenen bedenken. Het is heel compact, en heeft hele sterke ideeën, het is echt een heel goed stuk! Koetsier schrijft hele boeiende muziek, ik heb ook zijn 1e symfonie gehoord op YouTube, waar hij zelf het Concertgebouworkest dirigeert. Hij was een tijdje tweede dirigent van dit orkest, naast Mengelberg. Geweldige muziek, en geweldig gedirigeerd!
DVS: Wel goed om aandacht te richten op deze stukken, om het bewustzijn te vergroten van wat er zoal bestaat in de nederlandse altvioolliteratuur.
Jazeker, en volgens mij verdienen deze stukken ook internationaal meer aandacht. Het zijn belangrijke bijdragen aan het repertoire voor ons instrument. Ik hoop dat meer altviolisten deze stukken gaan oppakken en spelen, ze zijn het echt waard! Niet alleen als een nationale cultuurverrijking dus, het is universele en sterke muziek.
Het is soms moeilijk om mensen te leiden naar nieuwe muziek, maar ook voor mij was er een zekere drempel. Ik had de partituren van zowel Koetsier en Badings al jaren in huis. Het is heel moeilijk om onbekende muziek met een open vizier te benaderen, zonder bang te zijn dat het niet goed is. Je moet durven kijken en zoeken wat er in zit. Ik hoop wel dat men bij het luisteren deze muziek voelt binnenkomen, zoals dat bij mij is gebeurd!
This spring, the young Dutch violist Dana Zemtsov will record an album with Dutch viola music, among others the concertos by Badings and Koetsier, with the Phion (Eastern Netherlands Philharmonic) orchestra, conducted by Shizuo Kuwahara. She will also record the Badings viola sonata, with pianist Anna Fedorova.
In order to secure the finances, the Zemtsov foundation backs her with a crowdfunding campaign. On behalf of the DVS, I called her to find out more. I found her in a short coffee break of the always-busy Zemtsov Masterclass week, which this year has been organized in an entirely virtual format.
DVS: What an exciting project – when will this all become reality, assuming the crowdfunding campaign succeeds?
We will start recording now, in March. Channel Classics (her recording label, red.) has already arranged almost everything. I have to secure the funds for the conductor and a bit of promotion. For this kind of unknown concertos, you really need a bit of extra effort to get public attention. That’s why the PR has been budgeted extra. If we can get around €7000,- with the crowdfunding, the CD can be ready for sale already this fall.
DVS: How did this idea arise, and why is just now a good moment to act on it?
We’ve been talking about this project for a long time. Both the management and chief conductor Otto Tausk of Phion were already very enthusiastic about this project, and we had been looking for possible dates for some time. Under normal circumstances I could have waited much longer for an opportunity, but “thanks to” the Corona pandemic, the orchestra have no concerts, while they do have some budget for project work. Recordings fall into that category, so suddenly the opportunity was there. So, I also had to start practising very quickly, to be ready in time!.
DVS: But this week you don’t have much time to study?
That’s right, due to the Zemtsov Viola Masterclass week, with 45 participants (and hence almost as many lessons to be given). I’ve had to plan my own study session in-between things.
DVS: And where will this all be recorded?
In Muziekcentrum Enschede. And I will record the Badings sonata with Anna (Fedorova) in the Stadsgehoorzaal Leiden.
DVS: So there are three pieces programmed: Koetsier’s Concertino, the Badings concerto and sonata.
Exactly, and also the Pavane by Arne Werkman, where the piano accompaniment in this case has been orchestrated. That will be a beautiful “extra”. All in all it is truly a Dutch project!
DVS: How did you get acquainted with the Badings concerto?
I first heard it live, with Nobuko Imai as a soloist – that was fantastic. I was only about 13 years old at the time, but I immediately thought “wow, this is a really good piece!”. The concerto contains a lot of sound experiments, with clusters and quarter tones, octatonic scales and ethnic elements (e.g. Indonesian gamelan music – Badings was born on Java, red.).
DVS: How about the Badings sonata, does it have commonalities with his concerto?
Well, the sonata is actually very different, the style is more impressionist, almost romantic. The second movements of the sonata and concerto are a little bit similar. The sonata is anyway very extraordinary music, it has those magical Badings atmospheres, where you hear “silences” in combination with harmonies, for example a fifth that disappears in a silence. You can hear those kinds of effects in his concerto, too. And there are some parallels in the characters: The third movement of the sonata is very fiery, a kind of devilish dance; at certain points the writing is uncomfortable for the viola, a lot of stuff happening “between the notes”, and very rapidly. I am truly wondering what people will say about this piece, but in my opinion it deserves a permanent place in our repertoire. It is very dynamic.
DVS: The Concertinoby Jan Koetsier will be a true recording premiere?
Yes, that is really a discovery – sometimes you think that there must be a reason why these unknown pieces haven’t been recorded. But in this case I cannot think of a musical reason. The Concertino is really a very good piece! Koetsier writes very enjoyable music, I heard his 1st symphony on YouTube, where he himself conducts the Concertgebouw orchestra. He was assistant conductor for this orchestra for some time, next to Mengelberg. Great music, and great conducting!
DVS: It is good to draw attention to these pieces, to increase the awareness of Dutch viola literature.
For sure, and in my opinion these pieces also deserve more attention internationally. They are important contributions to our viola repertoire. I hope that more violists will play them, they are really worth it! Not only as an enrichment of national culture, it is universal and very strong music.
It is sometimes difficult to lead people to new music, but also for me there was a certain threshold. I had access to the scores for Koetsier and Badings for years. But it is hard to approach unknown music with an open visor, without fear of getting it wrong. You have to dare to look for what’s inside. I really hope that the audience will feel the impact of this music, as it happened with me!
Ásdís Valdimarsdóttir currently teaches viola and chamber music at the Royal Conservatoire in The Hague. We are happy and proud to announce a new workshop led by her, with the title…
FINDING FABULOUS FREEDOM – WITH A VIOLA IN YOUR HANDS!
This will be a workshop on looking for freedom from pain and preventing injuries when we play. Most of us have some idea on how our skeletons and muscles are designed and how to use them to our best advantage- but even so the statistics tell us that a very high percentage of all musicians suffer from injuries of one sort or another at some point in their careers. Some get over them- but many don’t – and it is a subject that musicians are often shy to open up about. No one wants to get a reputation for being injured or weak….
The good news is that it is very much possible to get over existing injuries in the long term and, of course, to prevent them.
I used to be a regular on the local physiotherapists table with pain in my neck and left shoulder; it helped in the short term but kept them employed! It was not until I discovered Body Mapping and Alexander Technique that I managed to truly get better and now I have not seen the physiotherapist for many years!
I would like to introduce you to what I have learned and help you find a way to injury free and happy music making. We will do lots of movement explorations and experiments. Have your instrument handy and make sure you have room to swing your arms around!
Date: Saturday, March 6th, at 16:00h Place: Online, Jitsi Meet (registered participants will receive a link) Language: The workshop will be given in English Logistics: Have your viola handy for exercises Costs: Voluntary financial donation – we suggest €10,- Registration: Use form below
Workshop registration no longer possible
P.S. You may also find the following related workshop interesting:
March 13th, 2021: “How to deal with injuries”, with Laura Kok
Gezien de huidige omstandigheden betreffende de maatregelen rondom COVID 19, heeft de concourscommissie besloten om zowel het Britten Celloconcours als het Britten Altvioolconcours 2021 te verplaatsen.
De volgende data hebben we nu vastgesteld:
Britten Celloconcours: zaterdag 12 en zondag 13 juni 2021 Britten Altvioolconcours: zaterdag 19 juni 2021
Er zijn nog een paar plekken beschikbaar in alle categorieën. We verlengen daarom de inschrijfdatum. Ken je mensen die alsnog graag zouden deelnemen? Aanmelden kan tot 1 mei via https://www.hetbritten.nl/concoursinformatie/138/. Echter, zodra het maximum aantal deelnemers is bereikt, sluiten we de inschrijving. We maken dit kenbaar via onze website.
De peildatum voor de leeftijd handhaven we op 13 maart 2021. (Ongewijzigd).
We hopen met deze verplaatsing onze kandidaten meer ruimte te geven zich goed voor te bereiden op het concours. Heb je vragen of opmerkingen? Neem dan contact op met onze producent, Marit Nijhuis, via maritnijhuis@hetbritten.nl.
Nog even geduld dus. Wij kijken enorm uit naar de optredens van alle deelnemers. Succes met de voorbereidingen en heel graag tot in juni in Zwolle!
Met muzikale groeten,
namens de Commissie Britten Concours 2021
Loes Visser, artistiek leider en hoofd jury Britten Concours
René Luijpen, voorzitter concourscommissie
Bas Goossens, zakelijk leider
Marit Nijhuis, Producent
After a long and disappointing fall where repeated attempts to plan DVS events were sabotaged by the COVID-19 crisis, we have now bundled all of the good plans from the past months into a single on-line Virtual New Year’s gathering!
This event takes place on Saturday, January 9th 2021, from 1600h – 1730h CET.
The programme, led by musician and journalist Heather Kurzbauer, is as follows:
DVS Past and Future by new chairman Kristofer Skaug
Viola Pitch – what’s on your mind? here’s your 2 free minutes of airtime!
Sign up (mandatory, but free!) below.
It is no longer possible to register for this event
After receipt of your confirmation mail, shortly before the actual event you will receive a second mail with further instructions for connecting to the conference. We intend to use Jitsi Meet, so no software installation will be required on your side.
Editorial note: After Day 3 in Cremona, I was too exhausted to keep up with blogging until late at night, and there was simply no time during the day. I wrote this final #CremonaBlog post only 4 years later, to mention a few of the highlights that happened during the last two days of this wonderful congress. My apologies for the long delay!
– Kristofer Skaug (DVS)
Friday October 7th, 2016
One very memorable performance in the main auditorium was the viola quartet transcription of Bach’s solo sonata BWV 1001. The arranger himself, Carmelo Giallombardo, was joined by three young violists (Benedetta Bucci, Francesca Faneschi, and Luca Cubattoli) in a luscious and very well-rendered transformation of this centerpiece from the violin solo repertoire. Not only were the lines enjoyably distributed across the four voices, but the harmonies were elongated so as to magnify those that are mere suggestions over time in Bach’s original music. Of course while listening to this piece, just like the well-known d-minor Chaconne arrangement for four violas, one cannot entirely escape the thought of the slam-dunk wittiness “how many violas does it take to play a Bach solo violin sonata?” which one might expect from the viola-jokes crowd. Nevertheless I hastened to order the sheet music for my own viola quartet (and we started rehearsing it this spring, 2020 – until Corona shut us down). Very much recommended (see the DVS Viola Ensemble Catalogue for details on where to get the sheet music). The recording of this performance has in the meantime also been published on YouTube:
Hereafter we heard a remarkable solo performance by Atte Kilpeläinen (from the Finnish Viola Society), in Gerard Grisey’s Prologue pour alto seul: Although I am not a subscribed fan of spectral music, this piece kept me spellbound for its entire (considerable) duration. I actually took a lot of notes in my programme booklet, but now (4 years later) I cannot really recall what I meant by them, so I’ll leave it there. But look out for that piece, if someone puts it on a recital programme in your neighbourhood!
The lunch-hour recital featured David Palmizio, a young Italian with a high-quality reputation that had reached me already in The Netherlands. I was not disappointed – his treatment of the Ligeti solo sonata and the Shostakovich sonata was exquisite. Then, after lunch, it was finally time for the DVS-sponsored presentation of new Dutch viola music – pieces written for the occasion by composition students at Codarts Rotterdam:
Cultivo No.1 for viola and electronics by Elena Garcia; performed by Raquel Sánchez (from Codarts Rotterdam)
Inti Raymi for solo viola by Sebastian Diakakis Nilo, performed by Ursula Skaug (Royal Conservatory of The Hague)
CORP for 2 violas, by Boelo de Smit, performed by duo “Everything is OK”, Kardelen Buruk and Oksana Mukosii from the Royal Conservatory of The Hague
Frayed Ribbon for 4 violas by Christoph Blum, performed by Kardelen Buruk, Oksana Mukosii, Ursula Skaug and Raquel Sánchez.
In the last piece, creative use was made of the auditorium upstairs gallery to create some very fancy stereophonic effects. See video below:
The post-lunch crowd was disappointingly small, but our students had every reason to be proud of their performance, which really stood out in originality and pioneering interpretation of these brand new pieces.
On the photo here (clockwise from rear left): Kardelen, Ursula, Raquel and Oksana.
I have to skip a lot of things in my report here, but I need to mention two more performances that afternoon:
Firstly the solo programme “España” by the very virtuosic Italian violist Marco Misciagna, a bunch of well-known Spanish guitar classics by Albeniz, Tarrega, Sor etc. arranged by the performer to feature a dazzling technique, particularly in terms of spectacular bowing arpeggio feats etc.
And last but not least the solo chamber recital by our very own “Young Guest of Honour” Dana Zemtsov. She played a formidable programme with among others the Vieuxtemps sonata, Schumann’s Fantrasiestücke, and ending up with the bravado Waxman/Kugel Carmen Fantasy.The evening brought us the traditionally chique IVC Gala Banquet, with speeches of thanks from the IVS President Carlos Maria Solare, as well as the official invitation to next year’s IVC congress in Wellington, New Zealand – brought to us by Anna Brooker.
Saturday October 8th, 2016
On the very last day of this congress, there were two more Dutch contributions. Amsterdam-based violist Elisabeth Smalt performed Patrick Ozzard-Low’s “Sonata: In Opposition” as part of a lecture-recital programme together with the composer himself. The performance was held in a darkened auditorium, where Elisabeth moved between different music stands all over the stage – quite an experience to let your ears explore this very modern music in this space.
Secondly, there was Kolja Meeuwsen‘s excellent lecture titled “Viola Masters from the Acoustic Era”, treating historical viola recordings from the early period 1877-1925. Lots of really interesting material was shown/played, e.g. recordings of Nedbal, Tertis, Vieux and Primrose. Kolja also brought some very fascinating hardware to show, such as an ancient suitcase-based turntable.I apologize again for everything and everyone that I’m not mentioning here, there were so many good contributions, interesting lectures, recitals, master classes. But I have to wrap up this account here and now.
During the closing ceremonies of a Viola Congress there’s (almost) always that ultimate viola extravaganza: The massed viola orhestra! Under the baton of violist and arranger Francesco Fiore, everyone present who knew how to hold a viola sat down for a fun programme of Telemann, Bizet, Wagner, Mendelssohn … and, that which you really expect and hope to do when in Italy (especially when so close to Milan and La Scala), some good Verdi opera music! such as Va pensiero from Nabucco. I hadn’t brought a viola to Cremona, but the local Cremonese (originally Dutch) luthier Mathijs Heyligers, who had his instruments on display at the congress, kindly lent me a beautiful tenor viola for this occasion. Can you tell I’m having fun? (that’s me in the corner, far right).
During this closing Ceremony, prof. Michael Kugel received the Silver Alto Clef, a special IVS award, for his contributions to the viola world.
So that was it for Cremona 2016! Thank-you so much to our host Dorotea Vismara and her team for a memorable week. We – Karin and I – picked up a lot of valuable information and experience here which – in retrospect – came in very handy once we started organizing our own 2018 congress in Rotterdam.
De vijfde editie van het tweejaarlijkse Britten Altvioolconcours vindt op zondag 21 maart 2021 plaats in het ArtEZ Conservatorium in Zwolle.
Verplicht werk in categorie I (10-14j):
Gabriel Fauré: Après un rêve, op.7 nr. 1
Verplicht werk in categorie II (15-18j):
Sulkhan Tsintsadze: Khorumi, Georgische dans voor altviool en piano (te koop hier)
De 1e Prijswinnaars treden op als solist met het Britten Jeugd Strijkorkest olv. Loes Visser bij het laureatenconcert op zondag 11 april 2021 in Theater De Spiegel, Zwolle. Er zijn ook meerdere prijzen te winnen, zoals concertoptredens, masterclasses, en een speciale bladmuziekbonnenprijs ter beschikking gesteld door de DVS!
het zat er al een hele tijd aan te komen, maar nu is het dan eindelijk officieel: Na zo’n 8 jaar als onze inspirator en oprichter ruilt Karin Dolman haar voorzittersfunctie in voor het vicevoorzitterschap bij de International Viola Society! Karin blijft gelukkig nog een tijdje als algemeen bestuurslid bij de DVS actief.
Haar opvolger als voorzitter van de DVS is Kristofer Skaug. Als amateuraltviolist is hij sinds het begin bij het DVS-bestuur betrokken geweest als webredacteur, met het voorzitterschap van het IVC2018 in Rotterdam als belangrijke ervaring. Emlyn Stam neemt ad interim de functie van penningmeester over, en Ursula Skaug blijft aan als secretaris en student-lid van het bestuur.
Verder hebben we twee nieuwe gezichten bij het bestuur: Anna Magdalena den Herder en Veronika Lénártová – beiden jonge professionals uit de nederlandse altvioolwereld. We zijn zeer verheugd met deze aanwinsten!
Meer over de achtergrond van de DVS-bestuursleden vindt u hier.
The second workshop followed one week later, presented by Laura Kok: “How to deal with injuries – Medical empowerment for viola players“. Laura is an orthopaedic surgeon specialised in prevention and treatment of musicians’ injuries, and she has completed a full conservatory viola degree as well.
