More than ever, we are living in a raging storm. With Typhoon, I want to convey that we must continue to fight for harmony, beauty, and cohesion in everything that happens to us.”
— Krisztina de Châtel
Canto Ostinato by Introdans
More than ever, we are living in a raging storm. With Typhoon, I want to convey that we must continue to fight for harmony, beauty, and cohesion in everything that happens to us.” — Krisztina de Châtel
“More than ever, we are living in a raging storm. With Typhoon, I want to convey that we must continue to fight for harmony, beauty, and cohesion in everything that happens to us.” — Krisztina de Châtel
Canto Ostinato by Simeon ten Holt will be performed on carillon and two piano’s by Frank Steijns and Friends.
Canto Ostinato performed by Jeroen van Veen. Info & Tickets
Meandres performed by the Natalon quartet. Meandres is Ten Holt’s last major composition. He compared the composition to a four-track tape with which he had worked extensively in the seventies. Each pianist takes on one track in principle, but may also switch tracks if desired. There is a repeat structure as we know it from Canto Ostinato, but the parts are more clearly divided into four layers.
Canto Ostinato inspires, moves and makes you forget time. The Natalon Quartet, four Fazioli grand pianos and De Duif: the perfect ingredients for an unforgettable musical adventure for both the audience and the pianists. These Canto Ostinato performances are now part of a festive concert tradition at Stadsherstel, in which the authentic sound of Simeon ten Holt's music takes centre stage, the pianists continue to challenge each other musically and therefore provide a special experience every time!
Canto Ostinato performed on four grand pianos. The Natalon Quartet, is the only permanent four-wing quartet worldwide and has more than 20 years of experience performing Ten Holt’s works
Canto Ostinato by Aart Bergwerff (organ) and Wishfull singing
Typhoon by choreographer Krisztina de Châtel - queen of minimalist dance.
In a windless prologue accompanied by the rippling piano sounds of Simeon ten Holt’s Canto Ostinato, the dancers prepare themselves for what is to come. They hang off balance as if leaning against the wind. Their arms cleave the air. They are ready for battle. Then the growing noise of wind machines drowns out the soft piano sounds. The dancers fill their lungs and proudly fight this (invisible) matter that they make tangible while dancing. The monumental dance performance Typhoon (1986) by choreographer Krisztina de Châtel will be revived in the spring of 2025 and danced by the dancers of Introdans. The choreographic urge for order of De Châtel is tested in this performance, as it were, in a flying storm.