Prelude to the marathon performance of aus LICHT


Students Royal Conservatoire, Christine Chapman

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Karlheinz Stockhausen has been a special guest in the Holland Festival’s 70-year history. In 1996 he wrote Orchester-Finalisten, for ensemble and electronics, especially for the festival. The musicians in this theatrical concert work – students from the Royal Conservatoire – depict finalists in a contest ‘auditioning’ with solos. The work is part of Mittwoch (Wednes­day), one of the seven days and operas in Stockhausen’s legendary opera cycle LICHT (light). Orchester-Finalisten is a prelude to the marathon performance the Holland Festival will be presenting with Dutch National Opera and Royal Conservatoire in 2019: aus LICHT. The concert on this evening  starts with the Dutch premiere of NEBADON, for horn and electronic music, which – like the world premiere – is performed by Christine Chapman. In both pieces the audience is surrounded by speakers.  



20.30 – 20.55 Nebadon (22’)

20.55 – 21.15 Interval (20’)

21.15 – 22.05 ORCHESTERFINALISTEN (46’)


Karlheinz Stockhausen (1928-2007) began his career studying piano alongside musicology, philosophy and German linguistics. He took his first lessons in composition, with the Swiss composer Frank Martin, in 1950 and in the summer of 1951 embarked on courses in new music at Darmstadt. 

There he became obsessed with serialism, a post-war method of composition in which elemental parts of the sound (pitch, duration, volume and timbre) are ordered according to row structures. The year after that he studied with Messiaen in Paris and, with a few ground-breaking works, managed to establish himself at the forefront of new music. From the second half of the 1950s onwards he achieved great artistic successes with a freer approach to the principles of serialism. At the WDR-studio in Cologne (which he went on to direct in the 1960s) he experimented with electronica as well as the placement of the orchestra in relation to the audience, extremes of tempo and music from all over the world. In 1964 an ensemble was established, dedicated exclusively to the performance of his work and in 1970 he set up his own music press. 

In the 1970s his approach to music took a markedly cosmic turn: he wanted to find a way to express his connectedness to the cosmos, nature and his fellow man. With LICHT (1977-2003), a cycle of seven colossal operas, one for each day of the week, he created a work intended to encapsulate the whole of his life. In 2019 Holland Festival, The Dutch National Opera and the Royal Conservatory in The Hague will present a broad selection from the series under the title aus LICHT. From 2003 to his death in 2007 Stockhausen worked on Klang, a comparable cycle about the hours in the day. 

Christine Chapman studied at the University of Michigan and at Indiana University. She has been working as a professional horn player since the age of seventeen. In 1990 she settled in Germany. Since then, she has been working as a solo horn player with various European orchestras. She gained her first experience of an ensemble for new music in 2001, during a concert with Ensemble Musikfabrik. Since 2004, Chapman has been a permanent member of the Cologne-based ensemble. Two aspects about interpreting contemporary repertoire interest her in particular: the close collaboration with composers and the ongoing development of playing techniques and instruments.

Together with instrument maker Gottfried Büchel, she developed a 'double horn', an instrument with two bells that can be played individually. As a member of Ensemble Musikfabrik, Chapman has worked together with various renowned composers, such as Karlheinz Stockhausen, Wolfgang Rihm, Peter Eötvös, Rebecca Saunders and Georg Friedrich Haas. She's also performed works by Harry Partch, Sun Ra, Mouse on Mars and La Monte Young. In both 2014 and 2016, Chapman performed with the Brass Academy, conducted by Marco Blaauw, during the Darmstadt International Summer Course for New Music. Christine Chapman is an ambassador of the Save the Horn campaign, launched by the Holland Festival. 

Studying at the Royal Conservatoire in The Hague means studying at the oldest conservatoire in The Netherlands. It means studying at a music and dance institute that for decades has stood for the highest quality where internationally renowned musicians and (ex) dancers teach, and where tradition and craft are intertwined with experiment and innovation. The primary aim of the Royal Conservatoire is to equip young talent with the highest artistry, technical skill and flexibility in order to be able to perform in a highly demanding and constantly changing professional environment. The Royal Conservatoire presents itself as a centre for education, research and production. This powerful triangle of elements forms the DNA of our institute.



Karlheinz Stockhausen
sound engineering, sound projection
Jan Panis, Renee Jonker
sound direction (NEBADON)
Kathinka Pasveer
French horn
Christine Chapman (NEBADON)
performed by
Students Royal Conservatoire (ORCHESTER-FINALISTEN):
Tirza Leenman
Leon Westerweel
Daniele Zamboni
Sjoerd Frishert
French horn
Simão Caetano da Fonseca
Christopher Collings
Nuno Silveira Texeiro
Giedrius Steponaitis
Josselin Antoine
Marieke Kosters
Elisa Karen Tavenier
Begonia Chan
double bass
Miguel Moreno Traba
Holland Festival, De Nationale Opera, Royal Conservatoire
performed by
Students Royal Conservatoire (ORCHESTER-FINALISTEN):

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