The BBT Trust is helping me very much with my ambition to make my professional life one big music festival. They possess great expertise and networks to help me, but even more importantly I see a sincere effort to grasp my specific needs. These characteristics make sure that the projects we do together are unique creative processes from the very start.Bram van Sambeek"
Bram van Sambeek (1980) was the first bassoonist ever to receive the highest Dutch Cultural Award in 30 years: The Dutch Music Prize.
In 2011 he won a Borletti Buitoni Trust Award, and recently he has been admitted to The Chamber Music Society Two programme of New York’s Lincoln Center. From 2002 until 2011 Bram was Principal Bassoonist of the Rotterdam Philharmonic Orchestra; since 2009 he has been teaching the bassoon at the Codarts Conservatory in Rotterdam. He plays regularly as a Guest Principal with, among others, the London Symphony Orchestra and the Mahler Chamber Orchestra. Focussing mainly on chamber music, Bram is a member of the Orlando Quintet, and made his Amsterdam Concertgebouw debut in 2003.
He is a regular guest at festivals like the Delft Chamber Music Festival, Orlando Festival, West Cork Chamber Music Festival and the Oxford Chamber Music Festival. Bram van Sambeek performs regularly as a soloist with orchestras such as the Rotterdam Philharmonic Orchestra, Sinfonia Rotterdam and Georgian Sinfonietta. Bram decided to start playing the bassoon when he was ten years old, beginning his studies with Fred Gaasterland and continuing later with Joep Terwey and Johan Steinmann at the Royal Conservatory in The Hague. After his graduation, he took private lessons with Gustavo Núñez. In an interview about Bram Valery Gergiev remarked: "…all in all a combination of being artistically involved, motivated and being gifted, being a very nice person, and also being a little bit unusual!"
In March 2012 Brilliant Classics released his second CD Bassoon-Kaleidoscope full of different chamber music, including a rock song, and in the coming seasons he will perform the new bassoon concertos by Sebastian Fagerlund and Kalevi Aho together with the Lahti Symphony Orchestra. Bram will also record these works for the BIS label.
Future engagements include: concertos with Gothenborg Symphony Orchestra, Oulu Symphony Orchestra, Philharmonie Zuid Nederland and many more.
In chamber music Bram will return to festivals such as Lockenhaus, Delft Chamber Music, Kempten and RUSK in Finland.
Bram has also been offered a “wildcard” at the Amsterdam Muziekgebouw, where he will give several concerts in the 14/15 season.
Photographs by Marco Borggreve
- IAMA showcase concert at King’s Place, London
- Co-commissioning Bassoon Concerto by Sebastian Fagerlund with Lahti (premiered 6 December 2014) and Gothenburg (October 2015) Symphony orchestras. Watchthe world premiere of Sebastian Fagerlund's Mana
- Recording by BIS of Fagerlund and Aho Bassoon Concertos with Lahti Symphony Orchestra
- Purchase of baroque bassoon
- Participation in Wednesdays at Wilton's
(27 May 2015)
- Co-commissioning Concerto for Two Bassoons by Kalevi Aho
Fagerlund & Aho Bassoon Concertos & Solo Works
Sebastian Fagerlund: Mana (end)
Sebastian Fagerlund: Woodlands for bassoon solo (start)
Kalevi Aho: Solo V (end)
Kalevi Aho: Bassoon Concerto I Andante (start)
Pairing the concerto commissioned with money from his BBT 2011 Award, Sebastian Fagerlund’s Mana, with Kalevi Aho’s Bassoon Concerto, Bram van Sambeek here records two major Finnish works for his instrument. Also included are solo works by both composers.
Bram van Sambeek bassoon
Lahti Symphony Orchestra
Okku Kamu (Mana)
Dima Slobodeniouk (Aho Bassoon Concerto)
BIS SACD2206 | www.bis.se
View the world premiere of Sebastian Fargerlund’s Mana here
Download the score of Aho’s Bassoon Concerto here (free pdf)
Supported by Borletti-Buitoni Trust
RUNNING AGAINST THE WINDBram van Sambeek artist profile
Dutch bassoonist Bram van Sambeek is a man of gritty determination who relishes challenge and embraces innovation in his mastery of his instrument. Whether as a chamber musician, teacher or soloist, he wants to discover all the colours of his bassoon and free it from misconceptions about its versatility. Our film shows how he stimulates his daily routine of practice and reed-making with constant experimentation, a boundless variety of musical collaboration – and running against the wind.
Watch the premiere performance of Sebastian Fagerlund’s Mana with Bram van Sambeek
BBT DEBATES - IS THE CONCERT HALL THE ONLY PLACE?BBT award and fellowship winners consider the pros and cons of purpose-built concert halls and other venues
How does a symphony orchestra sound in a car park? Or is it best appreciated in specially-built halls? BBT stirs the ongoing debate surrounding the idea of taking classical music out of the concert hall to imaginative and often unusual venues. Does this help cultivate new audiences? Younger audiences? Or does it compromise the music? Is taking down the barriers opening a pathway to more people enjoying classical music? Is the ultimate aim to get them into a concert hall?
These questions are addressed by a representative sample of Borletti-Buitoni Trust award and fellowship winners as they take their careers not only into new repertoire but new venues. See what ATOS Trio, Erik Bosgraaf, Alec Frank-Gemmill, Bram van Sambeek, Sean Shibe, Mark Simpson, Kate Whitley and others have to say.
BRAM VAN SAMBEEK AT BBT WEDNESDAYS AT WILTON’S 27 MAY 2015Bram van Sambeek plays Fagerlund, Linker and Pirchner at Wilton’s Music Hall
In a truly interactive recital at Wilton’s Music Hall, London as part of BBT’s Wednesdays at Wilton’s series, Dutch bassoonist Bram van Sambeek (BBT Award Winner 2011) seeks the audiences views on works by Sebastian Fagerlund and Arjan Linker as well as getting them to hum along to Werner Perchner’s mit FaGottes hilfe.
BBT WEDNESDAYS AT WILTON’S - BLOG 4Bram van Sambeek at Wilton’s Music Hall
Dutch bassoonist Bram van Sambeek (BBT Award Winner 2011) describes how he’s bringing democracy to the concert platform at Wilton’s Music Hall, in getting the audience to help him choose which composers should go forward to expand works from their initial sketches. Also he demonstrates the wickedness of Werner Pirchner’s mit faGottes hilfe, not least in the illustrated score, complete with a bottle of alcohol.