Bio-  extended version;-) 

 

When I first started playing the violin, I was captivated by its sound. I was told that I had a natural talent for it and my dream was to become a professional musician, specifically a violinist. Later on, while studying the classical violin at the Hochschule für Musik, Detmold in Germany I made my living as a violinist in an acoustic duo. During that period, my colleague and I created our own songs and transformed rock and punk music to perform as a violin and guitar duo. I played the violin unconventionally to produce specific tones, without any additional sound effects. We had a lot of fun performing this way, and the audience loved it too. However, I was somewhere between a fiddler and a classical violinist, not fitting precisely into either category.

In the past, I aspired to play in a classical orchestra. However, as I delved deeper into the intricacies of this pursuit, I came to realize that orchestral performances demanded strict conformity to the conductor's interpretation of the music. Although this approach appeared reasonable, it prompted me to question my identity as an artist and pondered the extent to which I could express myself through this medium. Ultimately, I concluded that playing in an orchestra would not allow me to fulfil my artistic aspirations or enable me to explore my creative potential.

After completing my violin diploma, I decided to attend masterclasses in order to refine my violin playing skills and continue my learning and practice. During my studies, Gilles Apap taught me the importance of being kind and respectful to oneself while working hard. I also had the opportunity to take lessons with a renowned violinist and concertmaster, who I had prepared Bach Partita d-minor for. He pointed out that while my interpretation of Bach was unconventional, he appreciated my distinct style. However, as a classical violin teacher, he felt it was important to inform me of this fact. I told him about a dancing sensation inside me, and we both laughed.

While pursuing my Masters in Composition for Film and Theatre at ArtEZ University of the Arts in Arnhem, I developed a keen interest in dance theatre and began collaborating with dancers. My creative process involves closely observing the dancers' movements, expressions, and intentions, and then composing music that complements and enhances their performance.

In the process of creating my philosophical dance theatre ballet, Camille D'Or, I recorded the lead dancer during rehearsals without music. We explored movements that a body might make if a soul had just incarnated into it. While observing her movements, I attempted to internalize them and adapt them to the piano keys. I would touch certain notes and give them a musical context that complemented her motion. This approach to composing was unconventional but made sense to me, and I knew I needed to make some adjustments to ensure that it made sense compositionally. 

During a feedback session with one of my composition teachers, I played this String Quartet and he expressed confusion at a particular section, stating that there wasn't a single straight chord. Curious, I asked him if he enjoyed it. His response was positive, but he explained that it was "strange in the truest sense of the word." In German, "merkwürdig" has two meanings: "noteworthy" and "weird." We shared a laugh, and I replied, "Great, I like both."

After I explained to him how the composition was created, he was able to understand it better. He also expressed his interest in trying it out himself, to see how a sensory experience could influence his compositional style. So, I suggested that he compose in a red or blue environment to see how it affects his feelings and how it combines with his compositions.

This field is quite fascinating and something that I follow closely through my artistic research.

Throughout my experiences, I have come to realize that things have the potential to be different. It is possible for individuals to embrace their uniqueness, even if it does not appeal to everyone. At the end of the day, it is essential to prioritize oneself and strive towards personal satisfaction. 

In the past, I have encountered situations where my true self has been perceived as odd and unconventional. As a result, I have learned that for me it is not necessary to strive for perfection, but rather to be authentic and find my own perfect way.