New Wave — Digna Sinke [1985]

Direction: Digna Sinke
Production: P. Hans Frankfurther / PAN film

A film about Dutch music in the 1980s, the emerging ensemble and improvisation culture of that era, and their intersections. One of the subjects is the project ‘Kaalslag,’ for which I wrote De Deuren Gesloten [The Doors Closed].

A hilarious moment worth mentioning occurs during a meeting about Kaalslag. We see and hear a grumbling Reinbert de Leeuw flipping through the score of ‘De Deuren Gesloten’ while explaining that it cannot be performed without a conductor. In fact, he insists two conductors are needed. Suddenly, he stumbles upon something in the score… [starting at 25:40].

Synopsis:

The film NIEUWE GOLF [New Wave] provides an overview of developments in contemporary musical life in the Netherlands. Through a series of explorative movements, the film captures the intersection of composed and improvised music. Performers play a central role, as they are often involved in both musical forms and seemingly transition between them effortlessly.

Some composers are also active in multiple domains: on the one hand, they perform improvised music, while on the other, they compose rigorous works adhering to all the rules of the art. Others embrace a working method more akin to that of pop music. For example, instead of composing for an anonymous orchestra, they write for a specific ensemble whose details and qualities they know intimately.

Within the film, the Kaalslag project is followed. Four composers — Louis Andriessen, Cornelis de Bondt, Willem van Manen, and Cees van Zeeland — each wrote a piece for two collaborating ensembles, De Volharding and Hoketus. These ensembles have a tradition of working without a conductor, fostering deep engagement among all the performers.

Both ensembles also have strong ideas about the repertoire they wish to perform. Due to the short preparation time and the difficulty of some pieces, it was eventually decided to have the four compositions conducted! While there are similarities, the differences in approach and working methods between these four composers also stand out.

The film particularly explores the broad field where composed and improvised music meet, showcasing the wide variety of new music forms. Musicians who one moment perform note-for-note written music may the next moment also play in a funk band. Singing in a choir dedicated to avant-garde music doesn’t prevent them from belting out swinging improvised tunes.

Experiencing a concert live is different from watching a fragment on film. The length of a piece of music often contrasts with how time is treated in film. Yet, film offers the possibility of montage, allowing images and sounds to be juxtaposed with sharp precision and capturing the diversity of contemporary music in the Netherlands.

When does sound become music? How does the visual — the film image — affect what we hear? The film plays with images and sounds, pushing the boundaries of the film medium. It aims to explain as little as possible but to show as much as possible in a cinematic form that sharpens eyes and ears.

[October 1985]

NIEUWE GOLF was created for the European Year of Music as a collaborative project between Gaudeamus/Chris Walraven, Musica ’85/Sieuwert Verster, and De IJsbreker/Jan Wolff, with contributions from the Prins Bernhard Fund, the Ministry of WVC, VPRO, and Buma/Stemra.

With:

Maarten Altena – Louis Andriessen – ASKO-koor – Ab Baars – Leo Baatsen – René van den Berg – Peter van Bergen – Gilius van Bergeijk – Henk Bernlef – Beppie Blanken – Geert van Blokland – Lodewijk de Boer – Cornelis de Bondt – Alex Booy – Aad Bouwhuis – Gerard Bouwhuis – Willem Breuker – Fred Brinkman – Gene Carl – Jaap Dercksen – Peter van Dinther – Reijer Dorrestein – Bob Driessen – Martin van Duynhoven – Bert van Dijk – Niek van Dijk – Nedly Elstak – Huib Emmer – Dil Engelhard – Renato Freyggang – Jeroen Goldsteen – Ad Groter – Jan Willem van de Ham – Jeff Hamburg – Liesbeth Harting – Willem Helwig – Hoketus – Simeon ten Holt – Guus Janssen – Paul Koek – Pim Koot – Henk Kraayenzank – Louis Lanzing – Peggy Larson – Reinbert de Leeuw – Jos Leussink – Theo Loevendie – Theo Loevendie Kwintet, met Errol Cemyl – Loos – Willem van Manen – Hans van der Meer – Ton van der Meer – Misha Mengelberg – Hans Meijdam – Carla Meijers – Viktor Miller – Jard van Nes – Piet Nieuwint – Leo van Oostrom – Hedwig Paesbrugge – Jeannette van der Pal – Eleonore Pameyer – Paradise Regained Orchestra – John Reinders – Residentie-Orkest – Camille Rorije – Mariëtte Rouppe van der Voort – Astrid Seriese – Pieter Smithuysen – Harry Sparnaay – Pien Stades – Frenk van der Sterre – Paul Termos – Tony Thijs – Wim Timmermans – Trebbel – Arielle Vernède – Lucas Vis – Hans Visser – De Volharding – Klaas de Vries – Diderik Wagenaar – Patricio Wang – Heleen van der Weel – Rombout Willems – Jeanette Yanikian – Cees van Zeeland and many others.

Scenario & Direction: Digna Sinke

Camera: Albert van der Wildt, Peter Brugman, Sjoerd Janssen

Assistance & Grip: Philip Hering, Marc Homs, Jessica Klijn, Wouter Suyderhoud

Sound: Erik Langhout, Georges Bossaers, Victor Dekker, Menno Euwe, Marcel de Hoogd

Assistance: Els Mertens, Gusta van Eyk
Material: Fujicolor

Titles: Titra Film Laboratorium, 2M Filmgroep

Title Music: Willem Breuker / Spanish Wells (BV Haast 044)

Post-Production: RCM Filmlab

Production Management: Conny Brak, Marjon van Schaik

Editing: Jan Wouter van Reijen
Sound Mixing: JPS / Erik Langhout

Producer: P. Hans Frankfurther / PAN Film

Premiere: October 9, 1985

Release: October 17, 1985

Broadcast: January 18, 1986