Selected by Andrea van Pol
Season 26-27 / What are creators and musicians themselves looking forward to? In our Selectd by… series, leading voices from the music and theatre world share their personal highlights from the Muziekgebouw aan ’t IJ’s new season.
Fans of classical music wake up with the sound of her voice. To hear Andrea van Pol on the radio is to hear a great enthusiast with a broad musical taste. Four mornings a week, she hosts De Ochtend (‘The Morning’) on the classical radio channel NPO Klassiek, striking a fine balance between classical music and current affairs and culture. ‘You shouldn’t start the morning with too much symphony,’ she says. ‘It’s all about balance and variety.’
In addition to her work for the radio, Van Pol is a sought-after moderator and presenter, notably for the induction of new members at the Society of Arts. Music, however, is the one constant in her life. ‘I admire people who create. People who, cliché as it may sound, create something out of nothing.’ She started piano lessons as a child, though she spent just as much time playing street football. ‘I could kick myself for it now,’ she says. ‘But it has given me an immense respect for the sheer discipline of professional musicians.’
IIn De Ochtend, a conscious effort is made to strike a balance: established names alongside new voices, honouring tradition and respecting innovation. ‘We play a bit of everything, and that’s what makes it fun.’ That curiosity carries over to her picks for the new season at Muziekgebouw aan ’t IJ. Like Nora Fischer, she is drawn to Caroline Shaw, work, moved by its originality and accessibility. ‘You simply can’t ignore it; her work is very special.’ Van Pol would like to see more female creators on stage, noting: ‘There’s still so much to discover there.’ To that end, she and Rae Milford co-created the podcast Nooit van gehoord?! (‘Never heard of them?!’), shining a spotlight on female composers who have historically been overlooked.
Van Pol is particularly looking forward to It Was Popular by Scottish composer and performer Genevieve Murphy. ‘I heard Murphy was brilliant at the Muziekgebouw last time she performed there.’ The performance plays with the atmosphere of nightlife, a world that feels simultaneously familiar and alienating. The concert hall will be transformed into a nightclub. ‘You aren’t just watching; you get pulled in.’ Murphy is a young creator who incorporates various art forms into her work. ‘She is very honest about mental health issues, which really resonates with a younger audience. It’s captivating.’
Van Pol sees this urge to innovate reflected across this season’s programme. ‘Composers and performers are blurring the lines between genres more than ever.’ She is also curious about Catherine Lamb, whose work The Illuminated Grid will have its world premiere at the Muziekgebouw this autumn. In stark contrast stands Lakecia Benjamin, ; the saxophonist brings her energetic performance [MK1] to the Grote Zaal just days prior. ‘I love it when you aren’t just attending a standard classical concert, but there’s something more to it. I admire that the Muziekgebouw isn’t afraid to explore that cutting edge.’
Van Pol also mentions the series Film en livemuziek, n collaboration with the Eye Film Museum, in which classics such as Metropolis are given a new score. These live-performed soundtracks add a new dimension to the films as they unfold on screen. ‘Absolutely fantastic – a stunning visual and musical experience.’
‘Whenever I walk into the Muziekgebouw, the colossal architecture takes my breath away. You feel small, whether you actually are or not. I imagine composers and musicians feel the same way,’ says Van Pol. ‘I’m only 158 cm myself; exactly the same height as Beethoven, I recently discovered – but the comparison ends right there,’ she laughs. ‘It promises to be another impressive season.’
