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Matthias Matzke 2013Marieke Kroes (NL)

Marieke Kroes (1986) studied classical accordion with Egbert Spelde at the ArtEZ University of the Arts in Enschede (Bachelor) and with Claudia Buder at the Musikhochschule Münster (Master). During her studies, Marieke took masterclasses with Claudio Jacomucci, Hugo Noth and Geir Draugsvoll, among others, and studied for half a year as an exchange student in Weimar with Professor Ivan Koval. She won several prizes at the national accordion competition, both as a soloist and with her Duo Al Aire.
While making music and teaching, Marieke tries to introduce everyone to the many (sometimes unknown) possibilities of the accordion. Marieke gives concerts both as a soloist and as a chamber musician. Her regular ensembles are Trio Vernice (vocals, accordion, cello), Rapid Lemon (accordion, vocals, double bass, recorder, clarinet), Duo Connex (vocals, accordion) and Duo al Aire (accordion, cello). With the latter duo she received a scholarship and a place in the concert series Live Music Now of the Yehudi Menuhin foundation. She has played with various orchestras including the BBC Philharmonic Orchestra. Marieke teaches accordion at Kunstgebouw Leusden, Musikschule Steinfurt (Germany) and Musikschule Coesfeld (Germany).

Vision: When asked what her vision is on (classical) music in general and the role of her instrument within this framework, she answers the following: 'Each composition tells its own story, evokes its own images and sketches its own atmosphere. . A musician interprets is an intermediary, a displayer of the images and a teller of the stories that lie behind the notes.
There are so many stories, so many sounds, so many styles, so many different idioms, and for me the accordion is the perfect instrument to connect all these different aspects. Because the accordion is a keyboard instrument, polyphonic music can be played, full harmonies, because it is also a wind instrument, a tone can be formed and developed at will.
Music that was originally written for the accordion naturally connects all these factors in a way that optimally suits the instrument. But the accordion is such a young instrument, and music history produced such a wealth of literature before the accordion existed, that we would be mad not to draw from that source. With respect for the time from which a composition originates, the composer and the instrument for which it was originally composed, works for harpsichord, piano, organ, choir or string instruments can be recolored on the accordion.' in the highest division and a first prize in the premier league.


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