Performers

Opening the score of Hans Kox cello and piano sonata was an extremely exciting feeling of something unknown and fascinating waiting for us. And to say the least the process of learning the piece and getting deep inside the score was an absolutely unforgettable experience. The music of Mr. Kox contains an incredible variety of emiotional expressions, characters and passion which transfer a performer to composer's inner world. It's rich and endless. And in order to enable a listener to understand what the music says, we as musicians, have a very important task to make sure we are spotless and precise with the music text. Hans Kox's writing is detailed and clear. It is also very technically demanding and requires a performer to invest much time in the preparation process, which will ultimately lead to a very rewarding performance experience. The highly technical aspect of the piece serves only to express the musical intensions of the composer. We were truly happy to be able to learn this great piece and felt privileged to be in touch with such an amazing composition. 

Mikhail and Elena, Nemtsov Duo
De nadere kennismaking met de bijzondere en veelzijdige muziek van Hans Kox was voor mij een van de mooiste ervaringen in mijn zes werkzame jaren als artistiek leider van het Orlando Festival. De 15 composities die in 2019 tijdens het Orlando Festival gespeeld werden, zorgden voor evenzovele meeslepende en boeiende gebeurtenissen. Wat hebben wij, publiek en musici, genoten van de prachtige muziek! Voor mij markeerde de (her)waardering die festivalbreed ontstond voor deze nog zo onderschatte en vaak veronachtzaamde muziek een hoogtepunt.

Henk Guittart,  artistiek leider van het Orlando Festival
For me, the closer acquaintance with Hans Kox‘ remarkable and versatile music was one of the most beautiful experiences in my six active years as artistic leader of the Orlando Festival. The 15 compositions which were performed in the 2019 festival, created as many compelling and fascinating happenings. How did we, audience and musicians, enjoy the beautiful music! The renewed appreciation which the festival created for this still underestimated and often neglected music, signified a milestone for me.

Henk Guittart, artistic leader of the Orlando Festival



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Als ich zum ersten Mal ein Werk von Hans Kox (‘The stranger‘ für Altsaxophon und Stimme) ausführte, fühlte ich während des Konzertes eine unglaubliche Ruhe, die mir eine Expressivität und Energie verlieh‘, die ich davor noch nie während dem Saxophonspielen gespürt hatte. Für mich war dies das Gefühl von Freiheit, sich komplett in der Klangfarbe der Musik befinden zu können.
Hans Kox' Musik lebt von Kontrasten – sowohl in Dynamik, als auch im Registerwechsel. Gerade diese Kontraste machen seine Musik für mich so lebhaft. Seine Tochter Judith erzählte mir, dass eine wohl sehr typische Aussprache ihres Vaters war: „Luisteren is een werkwoord“ – und das trifft so gut auf seine Kompositionen zu: Hinter jeder Phrase steckt eine so unglaubliche Energie und Intensität, die beim Spielen oder Anhören seiner Musik stets mehr wird. Jedes Mal wenn ich die Noten aus meiner Tasche hole und anfange zu Spielen entdecke und höre ich wieder Neues! Hans Kox‘ Musik ist so komplex und umfassend, und doch sind auch die kleinsten und verstecktesten Motive und Linien immer gut zu hören.
Ich will die Musik, die Hans Kox für das Saxophon geschrieben hat, auf die Bühne bringen, sodass noch viel mehr Menschen seine tolle Musik kennen lernen können. Kox‘ Saxophonwerke sind so wahnsinnig gut für unser Instrument geschrieben, dass selbst technisch schwierige Passagen in extremen Lagen sich für mich nach langem Einstudieren nicht mehr schwierig anfühlten. Kox‘ Klangsprache passt so unglaublich gut zu der Farbe des Saxophons, dass seine Musik von ganz alleine anfängt zu singen.

Hannah Koob
When I first became acquainted with the music of Hans Kox, the composer’s musical language immediately spoke to me. Imbued with an expressionistic richness, his works for saxophone are some of the most gripping, demanding, and emotional pieces of the repertoire. With a style uniquely his own, Hans Kox has forever pushed the boundaries of what is possible on our instrument, and for that, we are all grateful. 

Andrew R. Steinberg, Music Director, Megalopolis Saxophone Orchestra and Applied Saxophone Instructor, Palomar College
Tijdens het spelen hadden wij  beiden het gevoel dat dit sextet echt een eigen en unieke compositie is wat niet in een vakje gezet kan worden.
Vaak lyrisch, dan weer grillig met mooie dissonanten en tussendoor een heftig super gaaf snel deel en eindigend in mooie tutti's. Een heel eigen klank waar wij onze gevoel als muzikant goed kwijt konden. Sturm und drang gevoel zouden wij zeggen en heel leuk om te spelen.
Heel speciaal en het luisteren waard! 

Dorian Cooke (fagot) en Ron Schaaper (hoorn)
During the performance we both got the feeling that this sextet is a truly unique composition which cannot be put in a box. Often lyrical, then capricious again with beautiful dissonances and suddenly an intense and brilliantly fast movement, concluding in beautiful tuttis. A very personal sound world in which we, as performers, could happily dwell. We would say: ‘Sturm und Drang’ and great to play…. something truly special and so rewarding for the listener!

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Dorian Cooke (bassoon) and Ron Schaaper (horn)
“I had the great privilege of becoming acquainted with the musical language of Mr. Kox through the pieces 32 Variations on a Theme of Ludwig van Beethoven for solo piano, and Cyclophonie XIII for piano duo.  Through these two astonishing works, I experienced a veritable kaleidoscope of colours, textures, characters, and gestures, all created with a masterful understanding of the sonorities of the piano.  Mr. Kox’s compositions bespeak a depth of artistry and a wellspring of imagination.
I encourage pianists to explore these works; they are extremely satisfying to study and to perform, due to the endless richness of musical materials, as well as the fact that they are written in a way that suits the idiomatic and physiological needs of the pianist. They will increase the pianist’s technical and musical capabilities, by virtue of the demands they place on the performer.

Katherine Dowling
Over the course of 10 days in August of 2019 I had the privilege of rehearsing and performing no fewer than four works of Dutch composer Hans Kox. The rigorous compositional approach, the satisfying combination of the lyrical and the incisive, the sheer variety of concept and style contributed to a series of joyful musical experiences amongst the colleagues of the Orlando Festival. Although I found much to enjoy in the various works of Kox, I was left most touched by the Lied ohne Worte for oboe and cello, a searching, yearning work perfect in proportion and keenly conceived - a pleasure to study, rehearse and perform. If the mark of a work’s excellence is not in its premiere, but rather in the repetition of its performance, then I look forward to offering this (and other!) powerful music of Hans Kox to audiences in the future.

James Austin Smith
The music of Hans Kox is very dear to me. As a young performer who regards expressivity and emotion above any other aspect in music, his music fits perfectly my style and desires. There is not one gesture lacking intention, there is not one phrase without meaning, there is never a moment of empty pursuit... It reminds me in many ways of the music of the turn between the 19th and 20th centuries (beautiful miniatures by artists such as Gabriel Fauré, Frank Bridge, Ottorino Respighi...) and its technical challenges evoke undoubtedly the ones of Frederic Chopin and Franz Liszt: always serving an expressive purpose. 
 
I cannot consider myself a profound expert in his music, but simply because I enjoy it and it moves me so much I have listened to as much of it as possible. His music was the first by a Dutch composer that I learnt when moving to the Netherlands to study at the Conservatorium and it made me venture into more music by other Dutch composers. His piece that I first learnt was the last one he wrote - 'Quasi un'illusione' - which is dedicated to my dear teacher, and in which all the aforementioned aspects are summed up perfectly.
Finally, I cannot overlook the fact that the grand piano of Hans and Helene Kox is now at my home. It is extremely touching to practice daily on this instrument, which has a tender touch and warm sound that I can only imagine contributed to Hans Kox' expressive conception when composing. I really consider it a privilege and I will forever be extremely grateful to Hans, Helene and their family for this beautiful and lovely gift.
 
Carlos Marín Rayo
Over de zes preludes:
 
Geweldige uitdaging om deze fascinerende en ook wel heel moeilijk speelbare stukken op een speelse- en fantasievolle wijze uit te voeren…..
Hans’ aanwijzingen brachten mij telkens weer terug bij de essentie van de muziek en gaven tegelijkertijd veel vrijheid om technische uitdagingen met plezier aan te gaan.
Ieder uitvoering was weer een spannend avontuur ( ook wel om te kijken hoeveel noten je dit keer raakte…)

Peter Brunt
About the ‘Six Preludes’:
 
To play these fascinating pieces – which are very difficult to perform – with the right playfulness and fantasy, is a great challenge….. Hans’ indications brought me back again and again to the essence of the music, and at the same time gave me much freedom to take-on the technical challenges with great pleasure. Every performance was an exciting adventure (also to see how many notes I caught…)

Peter Brunt
De muziek van Hans Kox heeft ons altijd enorm geraakt. Het is muziek die je niet onbewogen laat, het is intense muziek. Muziek die je uitsluitend met volledige overgave kunt spelen. Lange melodische lijnen en dwingende, ostinate ritmes. Het is niet voor niets dat Hans Kox in zijn werksessies bij hem thuis met ons veelvuldig het woord “dóórgaan” riep. Volgens mij bedoelde hij: niet inzakken, trek de lijn door, kijk vooruit! Muziek waar je je in vast moet bijten én muziek die zich in jou vastbijt!

De strijkkwartetten zijn bijna symfonisch te noemen, zo’n melodisch web is het soms, en op andere momenten is de muziek weer zo intiem of heeft het een scherzando karakter, hoewel zelden luchtig. De Tweede Wereldoorlog heeft dermate een stempel gedrukt op Hans Kox wereldbeeld, dat van lichtzinnigheid geen sprake kan zijn.
Ik zou het desondanks tijdloze muziek willen noemen, niet per se passend in de moderne tijd, niet gevoelig voor mode en niet onder te brengen bij een bepaald –isme. Het is hedendaagse muziek die sterk leunt op het verleden, maar zó eigen is, en daarmee moderne stromingen overstijgt.

Jenufa kwartet
The music of Hans Kox has always touched us very strongly. Its intensity never leaves you cold. It is music which you can only play with total involvement. Long melodic lines and stringent, ostinato rhythm. It is not without reason that, in the rehearsel sessions with Hans Kox, he often called for ‘continuity’. I think he meant: don’t let it sag, spin the line, look forward! It is music to get your teeth into, and it’s music that gets its teeth into yourself!

The string quartets can almost be called symphonic, because of their melodic textures, and at other moments the music is very intimate, or has a scherzando character, although seldom airy. The Second World War has defined Hans Kox’ world view so intensily that there is no place for frivolity.

Nevertheless, I would call it timeless music, not necessarily fitting in modern times, not trendy, and impossible to put in a box of an ‘-ism’. It is contemporary music strongly rooted in the past, but so personal that it transcends modern trends.

Jenufa Quartet

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I have had an honor and joy to work with and sing extraordinary music of wonderful  Dutch composer Hans Kox. His 'Lalage's monologue' an one act solo opera was written for my voice. This short opera piece is very precise and full of  different melodies, rithms and moods. 'Monoloque' demands from the singer the full range of the colors, dinamics, large range and power of the voice.
Hans Kox was a lovely and very friendly man to work with. He explained me not only the concept of the peace but worked precisely on the musical aspects and interpretation. He wanted this piece to be sang in operatic tradition. I remember I doubted about the style of singing and the sound needed to perform 'Lalage's monologue' . Than Hans Kox said to me: "Sing it like you sing opera with passion and drama". We also did a very good recording together of this piece and I am very thankful and proud.

Gulnara Shafigullina

"HIS WORKS FOR SAXOPHONE ARE SOME OF THE MOST GRIPPING, DEMANDING AND EMOTIONAL PIECES OF THE REPERTOIRE"

- ANDREW R. STEINBERG