Contemporary
Composer in the Spotlight
Cd with orchestral works by Theo Verbey: Etcetera- KTC 1344
Available in cd-shops throughout the Netherlands or via the Etcetera website.
Theo Verbey on composing (in Dutch)
Michel van der Aa
Richard Ayres
Cornelis de Bondt
Ton Bruynèl
David Dramm
Anthony Fiumara
Joep Franssens
Rozalie Hirs
Simeon ten Holt
Willem Jeths
Hanna Kulenty
Yannis Kyriakides
Ton de Leeuw
Reza Namavar
Mayke Nas
Martijn Padding
Jan van de Putte
Robin de Raaff
Richard Rijnvos
Wouter Snoei
Klas Torstensson
Jacob ter Veldhuis
Theo Verbey
Giel Vleggaar
Peter-Jan Wagemans
Kristoffer Zegers
Brochure
Download the essay: The Grammar of Listening by door Frits van der Waa
Theo Verbey
Theo Verbey is one of those composers who found his own style early in his career. His style is characterised by a great feeling for structure and instrumentation.
After his education at the Royal Conservatory in The Hague, Theo Verbey quickly became one of the most performed composers alive in the Netherlands. Moreover his love for historical models is evident: so he referred to Mozart’s Prague Symphony in Triade (1991), references to Ravel and Perotinus can be heard in the Fractal Symphony (2004), his Clarinet Concerto (2005) alludes to Japanese Gagaku and the Piano Concerto (2006) alludes to Varèse and Scriabin.
Nearly all the compositions are characterised by a richly vibrant and detailed style and a deep understanding for the harmonious and melodic material, as well as a keen knowledge of the instrumental apparatus.
Verbey’s work is comparable to architecture: his compositions are given a structure like building constructions, with a innate relationship between details and the larger form.
His arrangements have also pleased many: Riccardo Chailly conducted the Royal Concertgebouw Orchestra some thirty times with Verbey’s orchestral version for orchestra of Alban Berg’s Pianosonate opus 1; later this was also performed a number of times with the Gewandhausorchester in Leipzig.
3 characteristic statements by Theo:
- I ever entirely part from a composition, but that gnawing feeling of a less successful performance is for me not terribly draining. (NRC Handelsblad 30 November 1990)
- I try to compose a sort of music that is almost influenced to a saturation point: not by fifty years of tradition, but by hundreds of years. (The Volkskrant 20 March 1992)
- I do not teach because I like to teach; I do it also to be partially independent from subsidies and funds. Subsidies have a domesticating function. I do not plead to abolish them, but I wonder myself if it is wise for a composer to be entirely dependent on subsidies. Eventually one must risk accepting that nobody finds your music good; then, too must you able be carry on. (NRC Handelsblad 1 April 1997)
most unusual musical exeperiences
- Donaueschingen (Germany), 18 October 1992. During the concert with the premiere of my piece Produckt, Pascal Dusapin did not come forward to come after the premiere of his piece. According to him `the musicians (ensemble Musikfabrik) played it in a German way'. After the concert it all became a bit more jovial.
- Taipei (Taiwan), 6 March 1998. As a jury member of the composer competition in Taiwan I reside at the Lai Lai Sheraton in Taipei. Spectacular are the elevators in the vide above the lobby shooting up and down.
- Brussels (Belgium), 18 February 1997. For the second time I am a jury member of the Queen Elisabeth Competition for composition. For three days I get pampered. Also in jury: Donatoni and Gorecki.
consice personal portrait
Theo Verbey's interests:
- Amsterdam, Watergraafsmeer. Since 1990 the neighbourhood where I live (after ten severe years in The Hague). A pleasant combination of green, zakelijkheid, some stunning and less stunning streets. The house in which I live has four floors and is similar to G.F. Händel’s house in London and e.e. cummings’house in New York.
- Since 1990 a regular visitor of the Dutch opera in Amsterdam and many other productions (including the sometimes stillborn baby of Dutch collegae). In the opera all instrumental innovations since Orfeo (1607 have been experimented.
- Privacy and independence. Within the jungle of the Dutch and international musical world I have been able to find my way without linking myself to musical schools, associations, political parties and the like.
Theo Verbey is inspired by:
- The daily need do something useful for the rest of the world
- Guillaume de Machaut, Gil Evans/Miles Davis, Maurice Ravel, Donald Fagen, Josquin des Prez, Japanse Gagaku, Steve Reich, Johann Sebastian Bach, Astor Piazzolla, Balinese Gamelan, Luciano Berio.
- Jorge Luis Borges, Giovanni Cimabue, Vladimir Nabokov, Kazimir Malevitsj, Salman Rushdie, Piet Mondriaan, John Irving.

![photo: Teo Krijgsman Theo Verbey [photo: Teo Krijgsman]](http://www.muziekcentrumnederland.nl/typo3temp/pics/90a55ab2fd.jpg)