05-07-1959 - current
Theo Verbey is often quoted as having said: “I try to compose a sort of music that is influenced almost to the point of saturation, not by fifty years of tradition, but by hundreds of years.” Verbey's concise and euphonious music indeed bears witness to broad and omnivorous interests, but ...
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Biography Theo Verbey
Theo Verbey is often quoted as having said: “I try to compose a sort of music that is influenced almost to the point of saturation, not by fifty years of tradition, but by hundreds of years.” Verbey's concise and euphonious music indeed bears witness to broad and omnivorous interests, but it is marked by an entirely individual approach to sound and structure. The latter is in part a product of his use of fractals, numeric proportions that operate on both a micro and macro level in his music. Verbey is in addition a skillful arranger – his orchestration of Alban Berg's 'Sonata, op. 1', has come to be known worldwide.
Theo Verbey (born July 5, 1959, in Delft) initially studies the trumpet with Peter Masseurs at the Royal Conservatory in The Hague.
1978 - 1984
He then studies composition with Peter Schat and Jan van Vlijmen and music theory with Hein Kien and Diderik Wagenaar in The Hague.
Afte completing his studies, he is appointed a music theory instructor at the Royal Conservatory. He arranges Alban Berg's 'Sonata, op. 1', for orchestra. “The sonic splendour not only takes one by surprise, it also elucidates Berg's Romantic roots,” Jochem Valkenburg writes in the NRC Handelsblad.
The Amsterdam Fund for the Arts awards Verbey the Encouragement Prize for his orchestral piece 'Aura' (1985).
The Asko Ensemble and Schönberg Ensemble, conducted by Reinbert de Leeuw, give the first complete performance of 'Expulsie' (1988-1990) at the Saturday Matinee Series in the Amsterdam Concertgebouw on November 24. “Expulsie, to put it simply, sounds like 'maximal' minimal music, because it has an unvaried basic pulse, tonic-like harmonies and a mostly gliding texture. But the gliding motions occur at a high tempo and on all different levels: the rhythms continuously shrink and expand, chords fan out and close up again, and the incessant colour changes lead to kaleidoscopic filigrees,” according to de Volkskrant.
1993 - 1997
Verbey begins teaching orchestration and composition at the Amsterdam Conservatory in 1995. In 1993 and again in 1997 he is a jury member at the International Queen Elisabeth Composition Competition in Brussels.
The baritone Olaf Bär and the Nieuw Sinfoniëtta Amsterdam premiere Verbey's first vocal work, 'Sechs Rilke Lieder' (1998) in the Concertgebouw in Amsterdam on January 26. He is a jury member at the National Composition Competition of Tapei (Taiwan). Verbey follows a course Digital Recording & Mixing at the College of Multimedia in Amsterdam.
2001 - 2002
He is a guest teacher at the Royal College of Music in London and composer-in-residence at the Europäisches Musikfest Münsterland.
Verbey writes his 'Fractal Symphony' (2004) for the centennial of the The Hague Philharmonic Orchestra in 2005. It is premiered on 28 January.
On the premiere of his 'Piano Concerto', de Volkskrant writes: “With a four-movement structure, in which two rather slow dialogues are followed by fast toccatas, Verbey maintains order. Even the writhing chords built from wind scrap decorously meld into the driving motion that marks the entire piece. The orderliness is both the strength and weakness of the piece.”
Verbey completes Stravinsky's unfinished version of 'Les Noces' for player piano, two cimbalons, harmonium and percussion. It is premiered at Amsterdam's Canal Festival. Theo Verbey is composer-in-residence at Het Brabants Orkest.
For the 60-year jubilee of Het Brabants Orkest Verbey writes 'Orchestral Variations'.
Discography Theo Verbey
Aurelia Saxofoon Kwartet - Saxophone Quartets
|Type and year||CD, 1996|
|Label||NM Classics, 92053|
|componist||Geert van Keulen|
|componist||Peter van Onna|
In the discography you will find all recordings that have been released listed chronologically. We restrict ourselves to the title, the type of audio, year of publication or recording, label, list of guest musicians, plus any comments on the issue.
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