New registers! Experience concert with premieres for cello, piano and organ

Bach's cello suites consist of a series of consecutive dances, preceded by a 'Prelude'. Although Bach did not intend his suites to dance to, many characteristics of the original dances were preserved. The 'Sarabande' is a dance of Mexican origin, introduced in Europe by Spanish settlers. In Bach's cello suites, the 'Sarabande' is the emotional centrepiece. In terms of impact you can compare it with the slow part of a sonata.

In his Four Biblical Dances the Czech composer Petr Eben was inspired by four passages from the Bible in which people dance. With 'The Dance of the Sulammite' Eben paints the love dance of the bride from the book of Song of Songs.

Louange à l'Éternité de Jésus' is the fifth movement from Olivier Messiaen's Quatuor pour la fin du temps that he composed during captivity in a Polish camp during the winter of 1940-41. As an intern Messiaen had to do with what was available: a clarinet, a violin, a cello and a rickety piano. Louange à l'Éternité de Jésus' is often performed separately. Messiaen took the music for this piece from an earlier composition: 'Oraison' from Fête des belles eaux.

"A work of extraterrestrial beauty with many high whistling tones on the cello, miraculously blending with the organ and contrasting with the piano." Doris Hochscheid writes these words about Rick van Veldhuizen's new piece. The title Conflari has been chosen with care, because the sound of cello, piano and organ melts together in this piece. Besides being a beautiful piece, Conflari is also a theatrical composition. Frans van Ruth and Gonny van der Maten not only play, from their 'fixed' place they also sing to each other. Doris moves through the hall with her cello and is thus a connecting link between organ and grand piano

Although no dance music in the strict sense of the word, the light-heartedness of Joseph Boys Humoresque is very danceable. Boy wrote the piece for cello virtuoso Maurice Dambois. Together they played the world premiere at a duo concert in 1930. Anyone familiar with Charles-Marie Widor's famous organ toccata will recognise the pointed rhythms in the organ part

In the spring and summer of 1845 Robert Schumann composed a series of pieces for the pedal wing. It was precisely during this period that Schumann made an extensive study of Bach's fugues. The result is clearly reflected in this Studien in more canonical form, op. 56.

Just before Manuel de Falla left Paris in 1914 to return to Spain, he completed his Siete canciones populares españoles. Violinist Paul Kochanski arranged six of these songs for violin and piano. Most famous were the last two particles: 'Asturiana' and 'Polo'. Asturiana' is a lament from northern Spain, played on damped strings. Polo' composed De Falla in the style of a folk dance with winks to flamenco. Doris Hochscheid proves with this arrangement by Maurice Maréchal 1876-1946 that these pieces also sound fine on cello

For his Suite DFG, Wouter van Belle was inspired by minimal music and uses various South American dance rhythms. That gives his music a jazzy and dancing character. Apart from the fact that the letters 'DFG' are nut names, they also refer to the names Doris, Frans and Gonny, for whom Wouter wrote his Suite DFG.