---

Murk Jiskoot - Doudouisme, for twelve percussionists (1998) 12:37 Wim Vos - Adoo we, for eight percussionists and vocals (1998) 10:58 Mauricio Kagel - Konzertstück für Pauken und Orchester (1990-1992) 20:00 Gerald Brophy - Yo yai pakebi, man mai yapobi (I'm the knife, you are the flesh), for african percussion and large orchestra (1999) (world-premiere) 31:22 Emiel Matthijse - Different 2:29 Percussion Group 'Anumadutchi': Wim Vos, Murk Jiskoot, Niels van Hoorn, Ron Colbers, Rene Spierings, Emiel Matthijse, Tom van der Loo, Jens Meijers (01, 02, 04, 05) Circle Percussion - cond. Gijsbert Zwart (01) Haags Jeugdkoor (The Hague Youth Choir) - cond. Silvere van Lieshout (02) Residentie Orkest - cond. Hans Leenders (03, 04) Luuk Nagtegaal - tympani (03)

A Lot of Noise and a True Party Utrechts Nieuwsblad 14-01-00 When you join a percussion ensemble with a symphony orchestra, you're asking for an evening full of spectacle. Just such a concert has a great chance of succeeding if the works programmed are interesting enough and not only suited for a small group of enthusiasts who know the difference between timbila's, boo-bams, daiko's and sabars. Last night's concert of the Residentie Orchestra together with the percussion groups Anumadutchi and Circle Percussion was, for that matter, a true party. The listener had to be able to cope with a lot of noise but was ensured of a groovy night. Both percussion ensembles are at the top of their field: they both played tight, loud and made a real show out of their performance. Murk Jiskoot´s strong, multi tiered composition 'Doudouïsm' and Wim Vos' 'A Doo We' showed different facets of the two percussion groups. There was a touching role in the work from Vos for the Haags youth choir, a group of bashful girls who lay a beautiful vocal carpet under the pulsing marimbas. The young conductor Hans Leenders showed himself to be a musician who knows what he wants: with his clear feeling for direction and precision, his appropriately small gestures showed him to be the perfect helmsman for the alert Residentie Orchestra. In Kagel's brilliant 'Konzertstück für Pauken und Orchester', it was clear Leenders understood the ominous atmosphere. The solo part in Kagel's work was demanding and complicated, but the timpanist never gets the opportunity to flourish: a powerless solo cadenza played with brushes is the only outlet the soloist is given. When the soloist eventually takes the time to play a virtuosic cadenza, this becomes fatal: because with the last beat the timpanist crashes through the skin of the drum and even disappears half way into the instrument. The excellent performer Luuk Nagtegaal played his role with verve. Gerard Brophy's 'Yo yai pakebi' was an effective finale: thick instrumentation and orchestral sounds, over spicy percussion work took the audience to boiling point. The Inner Strength Sounds Through in Percussion NRC Handelsblad 14-01-00 (...)The finale was much more cheerful: the new work by Gerard Brophy 'Yo yai pakebi, Man mai yapobi', written for the percussion ensemble Anumadutchi and extended symphony orchestra, complete with eight French horns. When, at its conclusion, the timbila's from Delagoabay lead the way onto the stage to play soli, they called forth the compositions inner strength. The Residentie Orchestra's clapping was strong, but the glamour and glitter that followed in the horns and brass created the magic of theatre which is precisely where civilised music struggles: the contact with the earth seemed to disappear. Drum Fire From Bulls Eye Beating in Percussion Festival 2000 Volkskrant 15-01-2000 They can't be compared to the Big Bang, but the decimal meter for the Anumadutchi percussionists was nothing to be sneezed at. Thursday, the company went to Utrecht's music centre and made the ground shake in accordance with The Big Bang, the Percussion Festival 2000. The concert was a true drum fire from beating right on the bull's eye. Does it make a difference if one or twelve drummers play? Sometimes it was a problem of overkill. But if the company split up in factions like in the polyrhythm of 'Doudouïsme', written by ensemble member Murk Jiskoot, then every musician has their own role to play in the structure. The music of Anumadutchi crossed boarders between cultures but also the boarder between notated and improvised music. On request by the percussion festival, the Australian composer Gerard Brophy wrote a piece for Anumadutchi and the Residentie Orchestra entitled 'Yo yai pakebi, Man mai yapobi' (I am the knife, you are the flesh). Brophy programmed this work for many musicians: the set up of the Residentie Orchestra was very big, with eight horns and four saxophones. They delivered a colour accent to the total saturation of tonal orientated sound, and Ravel like peaks which seduced the ear. Brophy is a real colourist, who knows how to combine in a refined way the drums, marimbas, cow bells and timbilas that Anumadutchi plays. The young conductor Hans Leenders led the monstrous alliance with a certain hand through Brophy's score. He also knew what to do with 'Konzertstück für Pauken und Orchester' by Mauricio Kagel, in which the orchestra and soloist tell two completely different stories concurrently. (...)

---