My new concert programs for the season 2013-2014. Enjoy! :-)
Programmes 2013-2014:
Ties Mellema (Saxophones) & Hans Eijsackers(piano)
'Jazz we can!'
Classical chamber music mixed with jazz and improvisation.Jazz and classical composers stepping out, over to the ‘other’ side: GeorgeGershwin, Ervin Schulhof, Martin Fondse, Tony Overwater, Edison Denisow, AndréJolivet and our own compositions!
The saxophone is predominantly known as a 'jazz instrument'.Meanwhile Ties Mellema won the Dutch Music Prize, the highest award andrecognition a Dutch classical musician can receive. But since his very firstnotes, there has been no divide between the various styles of music for Ties.When Ties and Hans started playing together, it turned out they shared thatview. Their trademark has become improvisation, which they place in betweenwritten out classical pieces.
'Romantic Sax'
The saxophone is a typical product, not only of theindustrial revolution, but of romance in particular. It is built to be able toplay long drawn out lines, filled with colour and feeling. Adolphe Sax had avision, and Ties and Hans have styled this into an entirely romantic programmefor saxophone and piano. And, as ever, they will comment on this by way of onthe moment improvisations.
Romantic sonatas by Brahms, Rachmaninov, Schumann, Beethovenand others.
'Minimal Ties'
Ties Mellema, solo saxophones
optionally with Niels Bijl, saxophones
Minimal music highlights from the saxophone repertoire. Golden oldies andcontemporary minimal music.
Terry Riley - Dorian Reeds
Philip Glass - Gradus
Ties Mellema - Minimal Impro
Ian Wilson - Ondes Ombragées
(for saxophone and LIVE recorded tape)
Eduardo Marturet - Canto Llano
(for saxophone and tape delay)
With Niels Bijl, saxophones
Marc Mellitis - Black
for two baritone saxophones
Philip Glass, Music in the Shape of a Square
for two soprano saxophones
'Shadows', Ties Mellema, solo saxophones
A poetical programme built up around the Irishman Ian Wilson and his OndesOmbragées, a piece in which the saxophonist records himself in the first halfand plays together with himself in the second half. The programme isbeautifully balanced and varied through the subtle use of electronics.
'Shadows' is Ties Mellema’s continuing quest to take the audience with him intohis musical world. Ties is always looking out for new pieces and sounds (for example,through the subtle use of electronics). In addition, composers are continuouslywriting for this versatile musician. Each concert has its unique place in Ties’development and growth as a musician and as a saxophonist.
Each programme is attuned to the space in which the concert will take place.The space is preferably used in an unconventional way.
There are two constants: the Irish composer Ian Wilson and Johann SebastianBach (Cello suite no. 3 or the Partita BWV 1013)
Sample programme:
Eduardo Marturet (1953) - Canto Llano
for saxophone and tape delay
Ian Wilson (1964) - Ondes Ombragées
for saxophone and LIVE recording and play-back
Luciano Berio (1925-2003) - Sequenza VIIb
for solo saxophone
Johann Sebastian Bach (1685-1750) - Cello suite no. 1, 3 and/or Partita (orig.flute)
for saxophone
Jorrit Dijkstra - new work, written for Ties Mellema
for saxophone and electronics
Maarten Ornstein - Leap Frog (2011), written for Ties Mellema
for saxophone and electronics
'Princepiration'
Ties Mellema, saxophones
EnAccord, string quartet
Wilmar de Visser, double bass
Jorinde Keesmaat, director
A programme that premiered in the Concertgebouw, Amsterdam in2012 in the series Tracks. The concert was highly commended and an outrightsuccess. Reason enough for Ties, EnAccord, Wilmar and Jorinde to continue. Theidea behind it is to create a programme with Prince and his music as the theme.
Contemporary composers (David Dramm, Maarten van Norden,Jorrit Dijkstra, and others) wrote pieces inspired by Prince’s work, most timesgroovy, funky and melodic, alternated with classical music, showing a clearlink to Prince’s music.
The target audience for this programme is: Prince fans withan open mind (a pleonasm!), young music lovers who find the stiffness ofclassical concerts difficult to get used to and music lovers in general.
The musicians use the space during the concert and give commentinformally on what they are doing. There is also enthusiastic interaction withthe audience in various informal ways.
More on Princepiration:
As a saxophonist, Ties Mellema is accustomed to playing all kinds of differentstyles during his concerts. One style that he has barely played during hiscareer, since he left the conservatory, is pop music, even though this type ofmusic formed a substantial part of his musical development as a teenager.
The most important pop artist during Mellema's puberty, was Prince. The suddenchanges in styles, from one album to the next, from one song to the next…. Evennow, way past puberty, Mellema’s fascination for this excellent artist remains.According to Mellema, Prince’s compositions are a match for many a classicalpiece.
Some quotes on Ties Mellema:
""A passionate plea to dust off your programming. If youare open to it: highly recommended!"" and ""Impressive"", ""abeautiful and sincere testimony"", ""...a concert both virtuoso andpoetic at once"", ""compelling"", ""…in the same way hecommented on other compositions meticulously and with humour."" and ""greatpower of persuasion"".
(Music Chamber Assen Foundation)
""Ties and Hans played an exceptional concert inNieuwkoop. The atmosphere Ties manages to create is remarkable; it comes notonly from his charming personality and his ability to engage with the audienceearly on. This atmosphere is created mainly by his command of the instrument andhis communicative way of playing. His choice of repertoire is refreshing and hesucceeds in drawing his audience into his world of sounds in a compellingmanner. Hans is indispensible as supporting partner. The audience in Nieuwkoopwas fascinated by the beautiful saxophone music with its endless timbres andpossibilities.""
(Music Chamber Foundation in Nieuwkoop)
“He is a phenomenal saxophonist, who fills the room with hisbeautiful tone alone, but also with the power of his musical personality”, “greatsubtlety” and “The great measure in which this duo is attuned to one anotherbecame apparent in an improvisation which, according to the pianist, led themto places they had never been together before.”
(Eindhovens Dagblad)
“One of the great virtuosos of this moment.”
(Dagblad Tubantia)
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