Infinite sound possibilities by bassoonist Bram van Sambeek

Bassoonist Bram van Sambeek respects no musical boundaries. As the only bassoonist to ever receive the Dutch Music Prize, he has a groundbreaking influence on the bassoon. In the concert program Roots, Van Sambeek demonstrates what he and his instrument are capable of. We will experience these infinite sonic possibilities at venue Pakhûs SOLO on Friday evening, October 30.

From new compositions and classical repertoire to jazz, Arabic music, and heavy metal: Bram van Sambeek tackles every style in an impressive manner. For the program Roots, he selects three important recent compositions, which he pairs with related musical excerpts from the established classical repertoire.

The composition Woodlands was written especially for Van Sambeek by the Finnish composer Sebastian Fagerlund. The composer was captivated by the spectacular, virtuosic, and at the same time refined playing of the bassoonist. Woodlands is like a mystical forest within which musical elements move back and forth. The elements interact with one another, undergo changes, and develop gradually. We hear the deep color of the bassoon, polyphony in overtones, and beautiful vibratos. The elements move towards a high sound world, where present and past ultimately coexist.

The more serene work Pieskãrieni by the Latvian composer Pēteris Vasks means 'touches' and was originally written for oboe. Van Sambeek made the arrangement for bassoon last summer during the Stiftfestival in consultation with the composer, in honor of his 80th birthday. Vasks' work is deeply rooted in nature and exudes mystical depth. For Vasks, music is more than just an art form—music is a necessity. A form of resistance against violence, loss, and dehumanization.

In Monologue for bassoon by Isang Yun, Van Sambeek literally demonstrates his long breath. Yun's Hauptton technique utilizes extremely long sustained bass tones that continuously change in timbre, dynamics, and vibrato. With the bassoon, Yun imitates the sound of traditional Korean wind instruments, which ensure an uninterrupted airflow and constant sound development. The piece demands enormous virtuosity from the performer, due to the alternation of intense fast passages and extreme leaps without natural pauses. Circular breathing is essential.

Bram van Sambeek was principal bassoonist of the Rotterdam Philharmonic Orchestra and guest principal bassoonist with the London Symphony Orchestra for many years until he decided to focus on solo playing and chamber music. He is a highly sought-after soloist at home and abroad, and several concertos have been written especially for him. Van Sambeek is a musical jack-of-all-trades: from a Bach solo album for BIS Records to a rock album with ORBI (the Oscillating Revenge of the Background Instruments), the ensemble he founded himself.

The concert lasts one hour and has no intermission. Includes a cup of coffee/tea beforehand and a glass afterwards.

Programmer Beate Loonstra: “At Pakhûs SOLO, it was high time to listen to the bassoon up close again! The motto for our solo concerts this season is 'Revealing Your Timbre'. In Bram van Sambeek, we have, to put it mildly, a very good fit. Bram’s combined mastery of phrasing, timbre, and physical challenge makes him an exceptionally refined musician. What he does on the bassoon is unrivaled.”