Reports from the Low Country (Andriessen, Padding, Kox, Van der Aa) (2019)

Kox, Andriessen, Van der Aa, Padding

Rick Stotijn

James Gaffigan

DSD 512 Exclusive

This album gives an impression of the broad stylistic spectrum of Dutch music over a period of more than fifty years. The programme focuses on an instrument that for more than two centuries was neglected by composers: the double bass. Despite some exceptions, the instrument only played a role within the orchestra. Louis Andriessen, Hans Kox, Martijn Padding and Michel van der Aa have enriched the double bass repertoire with music in which the instrument takes up a solo role in a concerto with orchestra, and is also heard in a small ensemble and even on its own. The search for special sounds and tonal combinations, stylistic open-mindedness and the free handling of traditional and modern styles, jazz and pop music – all these are conspicuous aspects of Dutch music. 

Louis Andriessen, now internationally the best known Dutch composer, wrote Elegy for cello or double bass and piano as far back as the 1950s, while Hans Kox’s Four Studies for double bass solo date from 1988.

The most recent pieces on this album, Reports from the Low Country by Padding and For the Time Being by Van der Aa, are not least inspired by the famous Dutch double bass player Rick Stotijn, who features as the soloist on this recording.

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Rick Stotijn

Rick Stotijn received his first lessons at the age of eight, studied at the Conservatory in Amsterdam with his father Peter Stotijn where he graduated with the highest distinction. Later on he studied with Bozo Paradzik at the Hochschule in Freiburg. Rick won several first prizes at a.o the Princess Christina Competition, the Young Musical Talent Foundation and in 2013 the Netherlands Music Prize, which is the highest Dutch Music Award for young and talented musicians.

Many solo appearances at home and abroad were soon to follow including a Carte Blanche series in the small hall of the Concert gebouw Amsterdam. Rick Stotijn performs regularly as soloist with Orchestra’s such as the Swedish Radio Symphony Orchestra, Amsterdam Sinfonietta, Rotterdam Chamber Orchestra and the Arnhem Philharmonic Orchestra. Moreover he is very much in demand for chamber music concerts, performing with Janine Jansen, Jurgen Kussmaul, Gidon Kremer, Christianne Stotijn, Liza Ferschtman, Robert Holl, Mischa Maisky, Bram van Sambeek, Julius Drake, Candida Thompson and many others.

Rick is a regular guest at festivals such as the Lucerne Festival, Delft Chamber Music Festival and the International Chamber Music Festival of Janine Jansen in Utrecht.

James Gaffigan

Hailed for the natural ease of his conducting and the compelling insight of his musicianship, James Gaffigan continues to attract international attention and is one of the most outstanding American conductors working today. James Gaffigan is currently the Chief Conductor of the Lucerne Symphony Orchestra, and Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra. He was also appointed the Principal Guest Conductor of the Gürzenich Orchestra, Cologne in September 2013, a position that was created for him. 

In addition to these titled positions, James Gaffigan is in high demand working with leading orchestras and opera houses throughout Europe, the United States and Asia. In recent seasons, James Gaffigan’s guest engagements have included the Munich, London, Dresden and Rotterdam Philharmonics, Vienna Symphony Orchestra, Staatskapelle Dresden, Deutsches Symphony-Orchestra (Berlin), Gothenburg Symphony Orchestra, Konzerthausorchester Berlin, Radio Symphony Orchestra Berlin, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Czech Philharmonic, Tonhalle Orchester, Zurich, Bournemouth Symphony, Orchestra of the Age of Enlightenment, Leipzig and Stuttgart Radio Orchestras, Tokyo Metropolitan Symphony and Sydney Symphony. In the States, he has worked with the Philadelphia and Cleveland Orchestras, San Francisco and Los Angeles Philharmonic, Chicago, St. Louis, Cincinnati, Indianapolis, Minnesota, Dallas, Detroit, Houston, Baltimore and National Symphony Orchestras and the St. Paul Chamber Orchestra among others.

Born in New York City in 1979, Mr. Gaffigan has degrees from both the New England Conservatory of Music and the Shepherd School of Music at Rice University in Houston. He also studied at the American Academy of Conducting at the Aspen Music Festival, and was a conducting fellow at the Tanglewood Music Center.

In 2009, Mr. Gaffigan completed a three-year tenure as Associate Conductor of the San Francisco Symphony in a position specially created for him. Prior to that appointment, he was the Assistant Conductor of the Cleveland Orchestra where he worked under Music Director Franz Welser-Möst from 2003 through 2006. James Gaffigan’s international career was launched when he was named a first prize winner at the 2004 Sir Georg Solti International Conducting Competition. 

photo: cover CC72779 (Challenge)

Rosanne Philippens

“Energetic, sensitive and flawless playing -  a dream violinist" Dutch daily De Telegraaf

Approaching music with the greatest possible sincerity is the credo of Rosanne Philippens, capturing audiences throughout the world with her infectiously joyful music making.  

Having come to the fore by winning first prizes at the Dutch National Violin Competition and the Internationale Violinwettbewerb Freiburg, Rosanne now travels the world as a soloist. She has appeared with most Dutch orchestras including the Rotterdam Philharmonic, the Barcelona Symphony, the Ulster Orchestra, Canadian orchestras such as the Vancouver Symphony and the Winnipeg Orchestra and orchestras in Germany, Finland and Switzerland. 

Besides prestigious appearances with conductors such as Yannick Nézet-Séguin, Lawrence Foster and Jan-Willem de Vriend, Rosanne has a passion for the playing/conducting mode, leading chamber orchestras from the ‘soloist spot’. She has performed in this way with the Camerata RCO and the Concertgebouw Chamber Orchestra, among others.  

Very important for Rosanne is her own personal concert series ‘The Amsterdam Salon Pop-Up’: high quality concerts with accessible programs in an intimate salon atmosphere, popping up in unexpected places. As a devoted chamber musician she has collaborated withstars of her generation, including István Vardai, Vilde Frang, Lawrence Power and Vikingúr Olafsson. 

Rosanne records exclusively for the Channel Classics label. BBC Magazine rated her last Prokofiev CD with a double five-star review accompanied by the statement: “Rosanne Philippens’ concerto is a triumph”. Her album ‘Dedications’ gained a five-star review in the Dutch daily De Volkskrant, where she was described as “a violinist with great character”. Her album INSIGHT is quite out of the box: a solo CD combining works by Bach, Enescu and Biber, recorded after a European tour during which the feedback of the public played a crucial role.  

Rosanne Philippens was taught from the age of three by Anneke Schilt at the Amstelveen music school. She continued her studies with Coosje Wijzenbeek, Vera Beths, Anner Bylsma and Ulf Wallin and was a student at the Royal Conservatory of The Hague and the Hanns Eisler Academy in Berlin, taking degrees with the highest distinction at both institutes. 

Rosanne is very grateful to the Elise Mathilde Foundation for enabling her to play on the 1727 ’Barrere’ Stradivarius.

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Reports from the Low Country (Andriessen, Padding, Kox, Van der Aa) (2019)

Kox, Andriessen, Van der Aa, Padding

Rick Stotijn


“This set from double bassist Rick Stotijn is as superb-sounding as it is musically innovative, with sonorous low frequencies in formats up to DSD512.”

    Aangenaam Klassiek

(…) Stotijn maakt van zijn contrabas een heerlijk ziongende, zuchtende, steunende en gierende ‘primo uomo’. Een waar feest voor ontdekkingsluisteraars.

    Klassieke Zaken

(...) Stotijn speelt de sterren van de hemel en maakt van de contrabas een heerlijk zingende, zuchtende, steunende en gierende ‘priemo uomo. Een waar feest voor ontdekkingsluisteraars. (...)

Aangenaam Klassiek

    Opus Klassiek

(...) This is a release that hits the bull's eye in every respect by the bold input from Rick Stotijn: the choice of repertoire, unrestricted virtuosity and of course that boldly brutal cover.(...) a beautiful product from the Low Countries (...) Dit is een uitgave die in alle opzichten in de roos schiet door de gedurfde inbreng van Rick Stotijn: de repertoirekeuze, de ongebonden virtuositeit en natuurlijk die brutale cover. (...) Een prachtproduct uit de Low Countries.

Siebe Riedstra

    NRC -

De contrabas zit doorgaans goed verstopt in de achterste gelederen van het symfonieorkest. Dat de ronkende kolos ook een veelzijdig soloinstrument kan zijn, bewijst contrabassist Rick Stotijn op zijn nieuwste cd. (...) bluegrassfieldels, jazzy loopjes en groovende Albertijnse basjes (...) een sluiptocht met stuiterstok door een nachtelijk klankveld van geheimzinnig resonerend slagwerk. [Padding] (...) De contrabas als scheurende viool of roffelende trommel. [Van der Aa]

Joep Christenhusz

    De Volkskrant -

In handen van Rick Stotijn verandert de contrabas van een brombeer in een ballerina. (...) Het titelstuk, gecomponeerd door Martijn Padding, is een contrabasconcert met hink-stap-spronggekrabbel, een waanzinnig weemoedig middendeel en een stuwende finale vol geplukte snaren. (...) Broze schoonheid staat naast theatrale hectiek in For the Time Being van Michel van der Aa

Frits van der Waa

    Trouw -

(...) Twee vliegen in één klap: Rick Stotijn levert een ode aan de contrabas en eerst daarnaast een rijtje Nederlandse componisten. (...) In het instrument van Stotijn lijkt nostalgie verscholen te zittendie hij er op een aanlokkelijke manier uithaalt. (...)

Frederike Bernsten

    Het Parool

(…) Bewondering verdient hij ook voor de cd Reports from the low country, waarop hij zijn reusachtige strijkinstrument in zeer diverse samenstellingen bespeeld. (...) Stotijn speelt het allemaal geweldig.

Eric Voermans

    Nederlands Dagblad

(...) Boeiende hedendaagse Nederlandse muziek.(...)

Roel Sikkema

    Netherlands Dagblad

The double bass plays an important role in the orchestra. But as a solo instrument, you hardly ever hear the bass. There is little music written for it. That is why it is nice that there is now an album with only solo music and that is also from composers from Dutch soil featuring captivating contemporary works for double bass solo.

Roel Sikkema[read full review]

    De Volkskrant -

In the hands of Rick Stotijn, the double bass changes from a moped bear to a ballerina. His new album Reports From The Low Country is entirely devoted to Dutch music. The title piece, composed by Martijn Padding, is a double bass concert with a hop-and-jump scribble, an insanely melancholic middle section and a powerful finale full of plucked strings. Brittle beauty is next to the theatrical hectic in For the Time Being by Michel van der Aa, in which Rick is joined by his soprano sister Christianne, violinist Rosanne Philippens and pianist Hans Eijsackers, and by the intriguing texts of Carol Ann Duffy. For the continuation of the album, Elegy by an 18-year-old Louis Andriessen and Four Studies by Hans Kox, the bass player had to reach a little further in the past. His playing is convincing, the pieces do less.

Frits van der Waa[read full review]

    Opus Classic

All the necessary comments have been made on Facebook on the cover of this album. "Is he real, Rick?" Stotijn has been boldly contemporary photographed complete with tattoo. The Stotijns are an old line of race musicians on all conceivable instruments and voices, with the patriarchs the oboists Jaap and Haakon. Rick plays the double bass, started his studies with his father Peter, and won the Dutch music prize in 2013. After that, he quickly made an international career: he is a solo bassist of the Swedish Radio Symphony Orchestra and teaches at the Robert Schumann Hochschule in Düsseldorf. The repertoire that he presents here extends over a period of more than half a century and is typically Dutch. No better title than 'Reports from the Low Country' - the catchy name that Martijn Padding came up with for his double bass concerto, an assignment from Kees Vlaardingerbroek, artistic director of the ZaterdagMatinee. As a composer, Martijn Padding (1956) does not care about conventions, a preference for unusual combinations and a strong sense of humor. Characteristics that came in handy when writing concerts for forgotten instruments such as the mandolin and the harmonium. That makes him the perfect candidate for coming up with a double bass concerto for Rick Stotijn, in which the Dutch background of both men not only led to lunches with Dutch food, but also to a piece in which Dutch cows manifest themselves in the percussion by the 'lions roar '- to the great amusement of the public at the premiere on 2 April 2016 in the Concertgebouw. Just as Dutch is the prominent role of the accordion in the orchestra (played by Bart Lelivelt). The bass is screwed one tone higher in this piece, and the bassist certainly does not get it as a gift in three bold parts with titles that speak for themselves: Alberti - Ricochet - Slapping. The latter is a direct reference to both jazz and the Bartók pizzicato, where the string has to hit the key. Michel van der Aa (1970) not only often uses visual elements in his work, but, like Padding, he easily finds a connection with pop music. This is especially evident in the third part of his 'For the time being' for mezzo-soprano, violin, piano, and double bass. In the composer's words: "It is a very up-tempo, jazzy-poppy piece and it should not sound too civilized." Rick Stotijn's sister, Christanne, is the dream vocalist (and here much more than just mezzo-soprano). After two of his students, the most famous Dutch composer himself speaks with a piece he wrote when he was seventeen. Louis Andriessen (1939) learned the trade from his father Hendrik (the later influence of brother Jurriaan is still noticeable here), and that can be clearly heard in this romanticly raving Elegy from 1957, optionally for cello or double bass. We read about Hans Kox's four études in the explanation that they are tailor-made for Rick Stotijn. That is of course intended in a transferable sense because Kox wrote them in 1988 for the then double bass player of the Concertgebouw Orchestra, Guibert Vrijens (1943-2012). A suite of four character pieces in the form of a baroque sonata da chiesa (slow-fast-slow-fast). This is a publication that hits the mark in every respect because of the daring input of Rick Stotijn: the choice of repertoire, the unbounded virtuosity and of course that brutal cover. A wonderful product from the Low Countries.

Siebe Riedstra[read full review]

Reports from the Low Country (Andriessen, Padding, Kox, Van der Aa) (2019)

Kox, Andriessen, Van der Aa, Padding

Rick Stotijn

Cables: Van den Hul, exclsuive use of 3T Cables
Digital Converters: Horus, Merging Technologies
Editing Software: Pyramix Workstation, Merging Technologies
Mastering Engineer: Jared Sacks
Mastering Room: Amplifier: Van Medevoort Holland; Cables: Van den Hul (exclusive use of Van den Hul cables)
Microphones: Bruel & Kjaer 4006, Schoeps
Mixing Board: Rens Heijnis, custom design
Notes: Padding/Reports from the Low Country is a live recording made by Polyhymnia International
Producer: Jared Sacks
Recording Engineer: Jared Sacks
Recording Location: Koninklijk Concertgebouw, Amsterdam (Padding) De Vereeniging, Nijmegen (Van der Aa) Muziekgebouw Frits Philips, Eindhoven (Andriessen) MCO, Hilversum (Kox)
Recording Software: Pyramix Workstation, Merging Technologies
Recording Type & Bit Rate: DSD 256
Speakers: Grimm Audio LS1, Audio Lab, Holland

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Album Download duration price
39619: Reports from the Low Country (Andriessen, Padding, Kox, Van der Aa)
00:50:55   Select quality & channels above
Reports from the Low Country - I. Alberti
00:08:55   N/A
Reports from the Low Country - II. Ricochet
00:08:44   N/A
Reports from the Low Country - III. Slapping
00:06:35   N/A
For The Time Being - I. Inside someone else's head
Van der Aa
00:03:36   N/A
For The Time Being - II. Miles away
Van der Aa
00:06:44   N/A
For The Time Being - III. And how are we today
Van der Aa
00:04:34   N/A
Elegy for Double Bass and Piano
00:06:00   N/A
Four Studies for Double Bass Solo - I. Adagio liberamente
00:01:48   N/A
Four Studies for Double Bass Solo - II. Poco Allegro
00:00:58   N/A
Four Studies for Double Bass Solo - III. Adagio sostenuto cantabile
00:02:13   N/A
Four Studies for Double Bass Solo - IV - Allegro Assai
00:00:48   N/A

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