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Genres You Will Love
Classical: Minimalism Classical: Contemporary Electronic: Pop Crossover Moods: Featuring Saxophone Moods: Type: Vocal

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Douwe Eisenga Concertstudio Zefir

Douwe Eisenga

The Dutch composer Douwe Eisenga writes mesmerizing music for the open mind. Time and again he creates a modern, irresistible groove with classical instruments. The resulting music is an intriguing mix of minimal and maximal, Colorful and sparkling with every new listening.

Douwe Eisenga studied composition with Julius Ament and Wim Diriwachter at the Groningen Conservatory in the Netherlands. He has written pieces for, among others, the Xenakis Ensemble, Super Librum. Python Soxophone Quartet and for pianist’s Gerard Bouwhuis, Jeoren van Veen and Marcel Worms.
In 2001 Marcel Worms recorded Eisenga’s Growing Worm for his CD More new blues for piano. In the same year, Eisenga’s chamber-opera Kabaal (Row) received enthusiastic reviews in the Dutch press. Eisenga continued with Requiem 1953, a large-scale composition for choir and orchestra, performed in 2003 for the commemoration of the flood that struck The Netherlands in 1953. Later on that year, the première of the Piano Concerto took place in Yokohama, Japan, performed by Gerard Bouwhuis and the Xenakis Ensemble. Spring 2004 witnessed the Dutch première of the complete piece at the Centre for New Music in Zeeland (NL).
In 2006 the CD 'Rose Road - City Lines' was released. The CD got very positive reviews in the Dutch press. In 2007 Kabaal was performed about 20 times in a new extended version. In 2008 Eisenga wrote music for Cloud Atlas, a project based on the novel from David Mitchell, performed by members of Nieuw Amsterdam Peil.

The dance-performance Wiek (Rotor) was premiered in 2009, followed by over 30 shows on Dutch festivals as Oerol, Festival over ‘IJ, the Boulevard in Den Bosch and Zeeland Nazomer Festival. Wiek is a location-based production by Boukje Schweigman, for which Eisenga wrote the music. Two more premieres followed 2009 : Delta Dance for the Clazz Ensemble and Kick out the Muse for choir and orchestra.

Like many composers of his generation, the music of Eisenga is rooted in pop music. He does not make any distinction between musical tearjerkers, twelve-tone techniques, baroque music or eastern-orientated cyclical structures. All these elements are used together in compositions that are both accessible and refreshing.