“One would be wrong to conclude that Van Nieuwkerk produces neoromantic sounds. His music is unmistakably modern in every respect, and does not evade dissonances. Minimalist tendencies are present, and echo’s of past centuries pass by like small patches of cloud. Many pieces on this cd are short, but a larger work like So Tear shows a clear architecture due to its motivic and rhythmic coherence. (…) Friendship in the widest sense is at the basis of this cd. All pieces have been written for befriended musicians or ensembles. His son Yuri plays the piano in two pieces, Ludwig was here and Over the Water. La Fontegara is a trio of three virtuosos: Saskia Coolen, Peter Holtslag and Han Tol. The Brisk Recorder Quartet and the Loeki Stardust Quartet need no further introduction. Both ensembles proved their mettle when it comes to promoting new recorder repertoire. The same applies in Belgium to the Flanders Recorder Quartet.
Willem Wander van Nieuwkerk rightly enjoys the international interest of scores of recorder ensembles. For that reason alone, this cd has a very practical and useful role to play. (…) The close ties between composer and performers garantuee model performances and the sound quality renders the subtle details that this repertoire naturally requires.” (Opusklassiek over de cd Kadanza)
“A beautiful example of Van Nieuwkerk’s power of imagination is ‘Bye, bye, blues (C_U, Jesus)’, The mellow sounds of the recorder wonderfully fit this collage of blues, gospel and folk…” (Dutch MusicWeb on cd Kadanza)
“…a wonderful mix of non-Western culture and contemporary Western music, yet in an accessible idiom. An excellent piece!”
(Pianist Ralph van Raat about Kalenda Maya for string quartet.)
The blog ‘The Dressing’, 2014:
“Among the compositions played that was particularly unique for a recorder concert was the jazzy “Kadanza” by the contemporary Dutch composer Willem Wander van Nieuwkerk. This energetic piece that features a percolating beat expresses what is new and old in recorder music…”
The Classical Source Jan, 2002:
“So Tear, by Willem van Nieuwkerk, provided another highlight, especially as it was so well executed by the trio. Trio Tagarela’s use of three renaissance treble recorders (the composer allows a choice) brought dynamism to this initially static, rhythmically-evolving piece of Minimalist persuasion with jazz and rock infiltration.” (after a performance of So Tear by Trio Tagarela, which consists of Amy Whittlesea, Lisete Da Silva and Emma Murphy, in the Park Lane Series in the Purcell Room, London January 2002 – The Classical Source)
The Plain Dealer, Ohio, 06/97:
“Recorders create lively impressions” – …Kadanza by contemporary Dutch composer W. Wander van Nieuwkerk sounds as though it could have been written for Laurie Anderson’s electronic violin. (about the CD Fantasia by Trio Dreiklang Berlin)
“Quelle énergie!“ – …On notera aussi la contribution du Hollandais Willem Wander van Nieuwkerk, très fraîche dans sa postmodernité sautillante, à moins que se ne soit l’œuvre des flûtistes de l’avoir rendu aussi impertinent.
“Curioso y brillante“ – …una serie de páginas muy curiosas y brillantes firmadas por Holger Hoffmann, Kazimierz Serocki, Sefton Cottom y W. Wander van Nieuwkerk, tocadas de manera espectular por los intérpretes del disco.
Jerusalem Post 21.10.98:
“Gems“ – “… For example, one of the most enjoyable discs I have encountered recently is Fantasia (Hänssler 98.147) performed by the Ensemble Dreiklang Berlin, three exceptional recorder players who present a most inspiring and gratifying rendition of minuet gems by baroque (sic) composers, most of whom are relatively unknown – such as John Coperario, Sefton Cottom, W. Wander van Nieuwkerk – along with two contemporary composers, Holger Hoffmann and Kazimierz Serocki.
But in spite of the totally unfamiliar names, this is a real find; the musicians are first-rate and perform these short, light pieces with utmost sincerity and obvious delight…”
“Tonkaskaden voll Witz und Phantasie – Berliner Flötentrio Dreiklang beeindruckt mit viel Spielfreude“ – ….Begeisternd auch die Interpretation des von dem Holländer W. Wander van Nieuwkerk stammenden Stückes Kadanza. Die Flöten schienen plötzlich zu singen – menschliche und instrumentale Stimmen gingen ineinander über.
WestDeutsche Zeiting – 10 december 2005:
…schmissige und melancholische Klänge aus [der ungarischen Folklore von Gyula Foky Gruber und] “Kadanza” vom Zeitgenossen Willem Wander van Nieuwkerk spielten Pina Mohs (Oboe, Blockflöte), Dorothea Höpfner und Simon Felix Gräser (Blockflöten) mit viel Sachverstand und musikalischem Vermögen.