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If there is one word with which the work of Daan Manneke (who is about to celebrate his 70th birthday) can be characterised, it is ‘space’. Temporal space, physical space and space as freedom. But also: spatial contrasts. He makes his musicians walk around, or he reconstructs the hall in which they are playing. The space can also be in the music itself: a small ensemble with intimate melodies versus the immense sound of a large orchestra. His inspiration comes from many sources. Music from the 12th-century Notre Dame School, obscure texts by Egidius, but also hooting cars on the street, or an approaching procession. As Manneke calls it: spirituality in form and gesture.

The basis for Manneke’s work has always remained the same: space and spirituality. However, his music has changed. ‘I have gone along with every movement,’ he says. Now his work has, as it were, ‘stabilised’. ‘But,’ he adds, ‘without having degenerated. I can see that from my musicologist perspective, ha ha!’ Of course he still has plans after 50 years of composing. ‘I have never written an electronic work. Maybe I should still do that one day. Though I’m a bit reluctant, because it is not really my cup of tea. But I think I could learn something from it, something I don’t yet know. That’s why I would like to do it. In any case, it wouldn’t make me less ignorant.’

Henriëtte Ellerbroek

I have very special memories of a trip to Mexico City. In 1999 I was invited to give some lectures and workshops there. I also conducted the cathedral choir that performed works by several Burgundian composers - Josquin, Dufay and Lassus - and works by two contemporary Mexican composers and myself.
Rarely have I come across such an entirely unorthodox, spontaneous and exuberant musical experience as I did then. There I experienced a lot less awareness of movements, styles and demarcation than at home. The cordiality and exceptional hospitality have really stuck in my mind. The inside of the immense cathedral in which I performed was covered in scaffolding because of a heavy earthquake. That gave the concert an extra, surrealistic dimension.

Daan Manneke’s interests:
•Poetry, (Russian) novels and reflective (philosophical) literature.
•I savour Mediterranean food; but also a Dutch stew (such as hash) and a glass of good wine.
•My (closest) favourite landscape is the Flemish creek landscape between Sluis (NL) and Bruges (B).
•My favourite sound: the ringing of a lot of church bells together; highlight: the opening of the Early Music Festival in Utrecht.
 
Important (musical) inspiration:
The music of the 12th-century Notre Dame School; the Renaissance, and in particular Josquin; the Venetian composers (Willaert, the Gabrielis, Monteverdi and Heinrich Schütz); Bach and more Bach, Bruckner, Scelsi, (late) Stravinsky, (all) the works of Messiaen, Xenakis and always folk music from all over the world.