My favourite cello composition is always changing. I experience pieces differently depending on whether or not I have played them, and it is always impossible to choose just one. Through playing Bach for example, I fell in love with the 5th Suite. The feeling of scordatura (in this case the A string tuned to a G) makes this Suite very special to me and separates it from the others. The tonality of c minor is both melancholic and theatrical at the same time. In every movement there are exceptions to the conventional “rules” that are associated with modern Bach and interpreting it is something I look forward to continuing.

As a musician I hope to be able to create and be a part of something meaningful. The modern world of music is always changing and reaching audiences becomes increasingly difficult. I hope to find a balance between the old and new music scenes, to preserve the beauty of past creations while staying relevant to a contemporary world. My next steps will be to further specialise in early music and refine my knowledge and expertise in both classical and contemporary styles.

The theme of the exhibition is very interesting to me. I find the contrast between beauty and violence very relevant today and a provides another perspective on the female body. The direct inclusion of the public as a medium is also very fitting and draws on the daily voyeurism that many women face.

My journey with the cello began when I was eight years old, after attending a performance by Alexey Kiselev at the Belarusian State Philharmonic, where he performed Dvorak’s cello concerto. It was then that I fell in love with the deep emotional sound of the cello, inspiring me to make it my main instrument.

One of my biggest dreams was to perform Dvorak’s cello concerto myself, and I successfully accomplished this goal. I had the honor of performing the concerto at my final bachelor recital in 2022, held in the grand hall of the Conservatory of Amsterdam.

On June 11th I will be completing my master’s studies at the Conservatory of Utrecht where I will be playing pieces by Tchaikovsky, Sollima, and, of course, a little bit of Bach. Following my graduation, I plan to focus more on my cello octet. Since September 2022, I have been a member of Ensemble Cello Wercken, which brings me immense joy. Looking ahead, I also aspire to dedicate myself to teaching. I enjoy working with children, and I believe I can bring a lot of joy to the learning process, making the cello an engaging instrument for young students.

I’m excited to participate in a research retreat project this April, marking my second edition since participating in the first edition last October. These projects have provided me with invaluable knowledge and the opportunity to collaborate with modern composers. Additionally, it’s always a pleasure to be surrounded by the beauty of Zutphen and spend a few days in such an artistic place as Dat Bolwerck.

I’m moved by the exhibition “The Sky Fell on Her”. I believe that violence against women, especially in the Arabic community, is a pervasive issue that demands attention. Beyond physical abuse, it profoundly affects emotional and mental health, leading to severe social and economic ramifications such as isolation, disrupted education, and instability in every aspect of life. By raising awareness, implementing legal reforms, and fostering dialogue about the issue, we can work towards creating safer and more equitable communities.

I am looking forward to visit the exhibition, especially to see ‘Daphne’  As a kid I loved the myth, and the statue of Daphne and Apollo by Bernini is one of my favourite works of visual art. I am curious to see Ruthi Helbitz Cohens’ interpretation of the story.

It is difficult for me to choose a favourite cello composition, it is always changing! Usually it is something I am working on at that moment, which currently is the cello sonata of Shostakovich.

For me, the best thing about being a musician is playing for a live audience. The venue, the type of public, the instrumentation and the era of music don’t matter that much to me, as long as I can get an exchange of energy with other people. I have been chasing this feeling since the first time I played for an audience as a kid, and will probably continue to do so for the rest of my life.

This exhibition on The Female Body Reconstructed is a
profound artistic exploration of the physical and mental
reinvention of women in the midst of violence, war, or
challenge through painting installations and presentations.

These works not only explore t he vulnerability and
strength of women, but also serve as symbols of
confrontation and rebirth. I was inspired by the exhibition
as both a confrontation of suffering and a celebration of
women’s indomitable vitality.

My favorite composition? ‘In the Vestige of the Present’, for flute, cello, and piano, by Dimitri Papageorgiou Kitty Xiao In flesh

As a musician, I believe that music is not just a means to
convey one’s aesthetic views but also a unique language
that allows me to showcase my attitude and personality.
It’s not merely a form of artistic expression but also a
method of protest and appeal

I was always surrounded by women that I looked up to. From an enormously deep and kind connection with my mother to now sharing my life with my most wonderful wife Alina. In that time I had the honor of sharing a lot of their experiences. The good as well as the bad. I’ve seen childlike happiness, exploration of adolescence as well as absolute tragedy. I’ve seen beauty, strength but also weakness and fear.
All of that lead me to the purest form of admiration in love.

Mostly I listen to Symphonies and while there are beautiful moments here and there for Solo Cello, it wouldn’t do the question justice to pick one of these. I guess I have to stick to the basics and pick The Swan. It is a wonderfully written piece with such a beautiful melody, quite simple yet extremely effective harmonic structures and as it is one of the most famous musical compositions, there is also an immense amount of wonderful audio recordings to listen to.

What am I hoping for as a musician? Tough question… 7 months ago I would have said that I strive to become a big film composer. The death of our beautiful son Eliah in September however has lead me to rethinking my future. I’ve left music composition completely for a while and now as I am slowly trying to get inspiration again from somewhere else than this tragedy, I think, I just want to have fun again and enjoy my time!

As with this project (my first composition again since then) I had a lot of fun writing and trying out things, I’ve never done before.

I pursued my viola studies in Zurich (ZHdK) and at the University for music and perfoming arts in Graz (KUG). There I had the valuable opportunity to listen to the courses of my favourite living composers, such as Georg Friedrich Haas, Bernhard Lang, Florian Gessler among others. Part of my artistic education is also due to my collaboration within the collective Claypot Records, which I founded in 2020. Together we have recorded over a hundred hours of improvisations and use them to compose music inspired by the unique voice of the instrumentalists who helped shape it.

The violence of the images of the exposition and their brutality struck me immediately. It is perhaps a congenital reflex to assume that everyone else faces the same problems and struggles as one does. Seeing Ruthi’s work reminded me once again how that is definitely not the case. Especially her disengaged demeanor while she was describing her pieces made a strong impression: almost as if, what to me appears to be just brutal passages Grecian mythology, to her is a metaphor of every day life as a woman.

The first pieces that come to mind as my favourite compositions are Bach’s monumental Six Cello Suites, which I have played on the viola myself. One composition that always inspires me is Prokof’ev Cello Sonata op. 119.

Since comparatively to many of my colleagues I have had a late start in composition, my goal is to cover the ground and compose a lot of music and pay my “ignorance debt” as quickly as possible.

Hesce started at the Sweelinck Academy, the young talent division of the conservatory of Amsterdam.

Mourits has followed masterclasses by Harriet Krijgh, Timora Rosler, Jeroen den Herder, Leonid Gorokov and others. She has played in different ensembles such as VU orchestra, Netherlands youth string orchestra and the Ricciotti ensemble.

As a solist Mourits has a preference for playing modern and new music, especially female composers and composers that ask special qualities of the player (Sofia Gubaidulina, Peter Vasks).