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30 works in Donemus catalogue

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24 capriccio's voor viool solo

Genre: Chamber music
Subgenre: Violin
Instruments: vl

Lunapark : 2005/2006, for 16 musicians / Sander Germanus

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: fl ob ob-am cl-pic cl sax-a bh fg h trb perc 2vl vla vc cb

Beetje Precies : (B-tje pre cis / Bit Precise), voor piano, 1993-94 / Sander Germanus

Genre: Chamber music
Subgenre: Piano
Instruments: pf

latest edition

Im Vortex : for 16 musicians / Sander Germanus

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: fl ob cl fg h-double tpt trb euph org-el pf 2vn vla vc db perc



Germanus, Sander

Nationality: Netherlands
Date of birth: 1972

Sander Germanus (Amsterdam, 1972) studied classical saxophone from 1988 until 1995 with Ed Bogaard at the Conservatory of Amsterdam, where he finished his studies as a soloist with the highest grades and a distinction for artistic qualities. He began his music composition lessons with Peter-Jan Wagemans as his composition teacher and Klaas de Vries as his orchestration teacher in 1992 at the Conservatory of Rotterdam, where he finished his composition studies with honors in 1998. During 1994-1995 he also studied with Luc Van Hove at the Royal Flemish Music Conservatory in Antwerp. At the invitation of De Nederlandse Opera (Dutch National Opera & Ballet) he attended a master class of Pierre Boulez in 1995. He was admitted to the Orpheus Institute in Ghent in 1999, where he obtained his laureate diploma with his thesis on microtonal music in the spring of 2005. At this institute he joined several residential seminaries from Helmut Lachenmann, Jonathan Harvey, Jan van Vlijmen, Dick Raaijmakers among others.
In 1998 he won an incentive prize from the City of Amsterdam for his composition Adamsarchipel. And in 2000 he was nominated for the NPS Culture Prize on television for his quarter-tone orchestral work Continental and reached the final with a second place. During the season 2001/2002 he was offered a stipend at the Internationales Künstlerhaus Villa Concordia in Bamberg, where he stayed for more than half a year to compose and to give lectures.
Since 2007 he is the artistic director of the Huygens-Fokker Foundation, centre for microtonal music in Amsterdam. Between 2010 and 2014, he was also a lecturer in contemporary art music at the master academy of the Lemmens Institute in Leuven (LUCA School of Arts).

Artistic vision: Sander Germanus has a unique vision of music. Hallucinatory and disorienting harmonic progressions play an essential role in his world of sound. The expectations of the listener can be optimally put to the test by the dizzy fluctuations of ‘dualistic tuning’ that he has developed. Within this strange but consonant musical context the listener can also be put on the wrong track by means of contrary rhythms. With these unexpected but pleasurable dizzying sounds he is searching for a kind of intellectual entertainment that should make all intoxicants unnecessary. That's why his motto is: “You don't need drugs, just listen to my music!”
The composer explains: “From all the hallucinatory stimulants, the ones which enter the human body through the ear will cause the most beautiful alienating experiences, in my opinion. The way listeners can get pleasantly disoriented, just by playing with their musical expectations, fascinates me. These expectations, which are not given by nature but created by men and culture, are hammered into the brains of most people by endless repetition of the same tonal chord progressions in music. I like to play with this fact in an inventive and original way. The question to what extent these expectations can be changed in the mind of the average listener, so new musical perspectives could be accepted, intrigues me. Thereby also raises the interesting question whether new and unknown tonal functions and chord progressions, which are in a different way as logical as those that we know, will confuse the audience or will be adopted by them. My belief is that these listeners will be delightfully overwhelmed.”

Compositions: Sander Germanus started composing music with microtones in 1996, based on his first microtonal experiment from 1992, in which he tried to let microtones sound beautiful. But it was not until 1999 that he wrote a complete microtonal composition; his orchestral work Continental. After this year, almost all his works were composed in his 'dualistic tuning', using microtones. Since his composition Lunapark (2005-2006), which he wrote for the DoelenEnsemble and Calefax Reed Quintet, this dualistic tuning theory came together with his other inventions in terms of tempo and rhythm. Movement modulations, tempo circles, microtonal voice leading, tempo averages, stumbling rhythms; all these finds lead to a kind of ‘music thermic’, where the turbulence of the air, as it were, can be felt in his music. Without leaving these artistic principles, his music has recently evolved into various musical styles beyond contemporary classical music, after deciding to set up his own music group. With this group and its converted music instruments, he started a new and important phase in his musical work. 
Sander Germanus composed music for several ensembles, among others the Netherlands Radio Chamber Philharmonic, Calefax Reed Quintet, Asko|Schönberg, Musikfabrik, Amstel Quartet, Il Solisti del Vento, Nieuw Ensemble, Quatuor Danel, DoelenEnsemble, Studio for New Music Ensemble Moscow, Residentie Orchestra, Percussion The Hague, Aurelia Saxophone Quartet and the North Holland Philharmonic Orchestra. He received commissions from several concert series and festivals, such as the ZaterdagMatinee at the Concertgebouw in Amsterdam and the Festival of Flanders in Antwerp. His music has been performed in various countries and has been broadcasted by radio and television. His composition for piano Beetje Precies (Bit Precise) and his Capriccio voor genoeg vioolsnaren (Capriccio for enough violin strings) for violin were both recorded on CD. In 2011 the Etcetera label has released a CD, named Lunapark, with an overview of his microtonal chamber work, which was rated 10 stars in the renowned magazine for classical music 'Listen'.


Sander Germanus werd geboren op 16 maart 1972 in Amsterdam.

Hij begon in 1988 zijn klassieke saxofoonstudies bij Ed Bogaard aan het Sweelinck Conservatorium te Amsterdam, waar hij in 1994 met onderscheiding zijn diploma behaalde. In 1995 behaalde hij zijn solodiploma saxofoon met een onderscheiding voor artistieke kwaliteiten. Vanaf 1991 studeerde hij twee jaar musicologie als bijvak aan de Universiteit van Amsterdam. Vanaf 1992 studeerde hij compositie bij Peter-Jan Wagemans en instrumentatie bij Klaas de Vries aan het Rotterdams Conservatorium, waar hij in 1998 met prijs afstudeerde. Vanaf 1994 studeerde hij tevens bij Luc Van Hove aan het Koninklijk Vlaams Muziekconservatorium te Antwerpen. In 1995 had hij op uitnodiging van De Nederlandse Opera een ontmoeting met Pierre Boulez. In 1999 werd hij toegelaten tot het Orpheus Instituut te Gent waar hij in het voorjaar van 2005 zijn laureaatstitel behaalde met zijn thesis ‘Muziekthermiek’, over microtonaliteit in het algemeen en de hedendaagse toepassingen van kwarttonen. Voor seizoen 2001/2002 werd hem een stipendium en een verblijf van een half jaar in het Internationales Künstlerhaus Villa Concordia te Bamberg aangeboden alwaar hij onder meer voordrachten gaf aan de universiteit en enkele gymnasia.

Als saxofonist heeft hij in verscheidene orkesten en ensembles gespeeld, waaronder het Radio Filharmonisch Orkest, het Radio Symfonie Orkest, het Schleswig-Holstein Festival Orchester en het Nederlands Promenade Orkest. Vanaf 1991 speelde hij in het World Saxophone Orchestra en verscheidene andere ensembles. Hij volgde vanaf 1992 actief saxofoonmasterclasses, o.a. bij Jean-Marie Londeix, Claude Delangle (Frankrijk), Ryo Noda (Japan) en Eddie Daniels (VS). Zijn debuut als saxofoonsolist was in 1998 met het Doelen Ensemble tijdens de Internationale Gaudeamusweek in de Beurs van Berlage te Amsterdam. Hij is oprichter van The Europe Saxophonic. Tussen 2002 en 2004 liet hij zijn sopraansaxofoon ombouwen tot een verstembare kwarttoonsaxofoon, waarvoor hij componeert. Sander Germanus is sinds 2007 directeur van Stichting Huygens-Fokker, centrum voor microtonale muziek, dat is gevestigd in het Muziekgebouw aan 't IJ te Amsterdam. Momenteel is hij ook voorzitter van Componisten 96, beroepsvereniging van en voor componisten.

Hij schreef werken voor o.a. het Nieuw Ensemble, Doelen Ensemble, Danel Kwartet, Asko/Schönberg Ensemble, Slagwerkgroep Den Haag, Aurelia Saxofoonkwartet, Escher Ensemble, Noordhollands Philharmonisch Orkest, Calefax rietkwintet, Il Solisti del Vento en het Residentie Orkest. Zijn muziek wordt regelmatig door radio en televisie uitgezonden en internationaal uitgevoerd. In zijn trilogie Lunapark (2005-2009) is zijn kwarttoontheorie samengekomen met andere muzikale vindingen op het gebied van tempo en ritme.

In 1998 werd hem de Aanmoedigingsprijs Muziek toegekend door het Amsterdams Fonds voor de Kunst voor Adamsarchipel. In 2000 werd hij genomineerd voor de NPS-cultuurprijs met Continentaal voor dubbel kamerorkest.

Sander Germanus (2009)