“…een prachtige mix van niet-Westerse cultuur en hedendaagse westerse muziek, maar toch in een toegankelijk idioom. Hartstikke goed stuk!”
(Pianist Ralph van Raat over Kalenda Maya voor strijkkwartet)
Dit zijn wat beschrijvingen die ik her en der vond van opnamen van mijn blokfluitmuziek:
Het blog The Dressing in 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…”
In TIBIA 3 (2010) zei recensent Michael Schneider over het stukje Over het water voor tenorblokfluit en piano o.a.:
“…ein ‘Lied ohne Worte’, genauer gesagt, eine Art ‘venezianisches Gondellied’, hat nichts mit avantgardistischer Musik zu tun, ist aber ‘süffig’ [hold, lieblich, scharmant, reizend] und entwaffnend wie Saties ‘Gymnopedies’!”
Lees de hele tekst hier.
De cd Vintage Brisk werd lovend besproken besproken door NRC Handelsblad. U leest de recensie hier.
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)
Répertoire 07/97:
“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.
RITMO 02/98:
“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…”
Haff-Zeitung 05.06.00:
“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.
