Cultural Public Benefit Organization
Splendor has been a Cultural Public Benefit Organization or Culturele Anbi since January 1st, 2013. This makes donating to Splendor even more attractive: when you make a contribution, the Dutch Tax Office makes a significant contribution as well.
Fiscal Advantage (ANBI)
Splendor’s ANBI status means, among other things, that a donation to Splendor can result in a considerable fiscal advantage. Additional information can be found, in English, on the site of the Belastingdienst. Feel free as well to contact us with any questions at firstname.lastname@example.org.
Splendor General Information
Legal Form: Non-profit
Name: Stichting Splendor
Registered Office: Amsterdam
Chamber of Commerce (Kamer van Koophandel) nr: 3487660
RSIN #: 822242448
Stated Goal: the promotion of the performing arts.
Location of Foundation and Physical Address: Nieuwe Uilenburgerstraat 116, 1011LX, Amsterdam
Board of Directors
M. W. M. de Visser, chairman
Wilmar de Visser (1972) studied double bass at the Utrechts Conservatorium with Peter Stotijn, where he graduated in 1997 with maxima cum laude. He completed his studies with Prof. Peter Puhn at the Hochschule fur Musik und Theater in Hannover. During his study, Wilmar performed with the European Union Youth Orchestra and Nieuw Sinfonietta Amsterdam. After graduating, Wilmar quickly became known as one of most versatile bassists in the Netherlands. Together with Sonja van Beek, he is founder and artistic director of EnsembleCaméléon, an ensemble of top young musicians focusing on larger ensemble masterpieces of the chamber music repertoire. In 2009, EnsembleCaméléon received an award from the Kersjes Fonds for €50,000 for being, in their view, “an ensemble of impassioned string players.” Alongside his work as principle bassist of the Netherlands Radio Philharmonic Orchestra, Wilmar also performs with the Netherlands Wind Ensemble.
Wilmar de Visser is the initiator of Splendor Amsterdam.
T. F. Rasker, Treasurer
Tienko Rasker (1973) studied Physics and Philosophy at Worchester College (University of Oxford) and holds a MBA from the Massachusetts Institute of Technology. As a trained strategy consultant and financial professional, Tienko is specialized in organic growth, fusion and acquisitions. His broad experience encompasses both large-scale acquisitions as well as small-scale start-ups. He workedfor several years at Philips in corporate venturing, investing in start-ups worldwide. He is currently the CEO of Leapfunder, a start-up investment platform.
J. M. van Iersel, Secretary
Cellist Johan van Iersel (1971) studied with Elias Arizcuren at the Utrechts Conservatorium, where he graduated with distinction in 1995. He went on to study with Philippe Müller at the Paris Conservatoire and participated in master classes with Siegfried Palm, Mstislav Rostropovich and Heinrich Schiff. Van Iersel was appointed Co-Principle Cellist with the Royal Concertgebouw Orchestra in September 1997.
He was a prizewinner at the 1990 Princess Christina Competition, the 1992 Postbank Sweelinck Competition and the competition of the Foundation for Young Musical Talent in the Netherlands in 1991. Together with pianist Jeroen Bal, he was awarded the 1992 Silver Vriendenkrans Competition by the Society of Friends of the Royal Concertgebouw Orchestra.
Before joining the Vermeer Trio, he was a member of the Escher Trio. He is also a member of the internationally active Blaeu String Quartet and EnsembleCaméléon. He gives regular solo performances with such orchestras as the Royal Concertgebouw Orchestra, the former Netherlands Radio Chamber Orchestra and the Residentie Orchestra.
D.F. Dramm, Board Member
David Dramm (1961) is a composer, born in Illinois and based since 1989 in Amsterdam. His composition studies began with Robert Erickson and, later, at Yale University with Louis Andriessen and Earle Brown.
His music has been performed regularly throughout Europe and elsewhere including Warsaw Autumn, Holland Festival, Bang on a Can, EXPO in Biel, and the Finnish ‘Time of Music’ Festival. Major commissions have included works for Yannick Nézet-Séguin and the Rotterdam Philharmonic, ASKO/Schoenberg, Radio Chamber Philharmonic, Netherlands Wind Ensemble, Albany Symphony, Monica Germino, Claron McFadden, Dansgroep Krisztina de Châtel, Scapino Ballet and the Götenborg Opera and Ballet.
Recordings of his music are available on labels such as Wergo, Vanguard Classics, New World, Challenge, BVHaast and ATTACCA.
J. L. van Rijen, Board Member
Jörgen van Rijen (1975) is Principal Trombone (jointly with Bart Claessens) at the Royal Concertgebouw Orchestra in Amsterdam. He is also a key member of the Dutch trombone ensemble, New Trombone Collective and Professor of Trombone at the Rotterdam Conservatorium where he studied as a teenager.
Van Rijen studied with George Wiegel at the Rotterdam Conservatoire, where he obtained a performance degree with the highest honors. He went on to study with Michel Becquet in Lyons, where he also studied Baroque trombone with Daniel Lassalle.
He has performed as a soloist in most European countries, as well as the United States, Canada, Japan, China, Korea, Russia, Singapore and Australia and performed concertos with orchestras including the Royal Concertgebouw Orchestra, the Czech Philharmonic and the Rotterdam Philharmonic.
In 2004, Van Rijen was awarded the Dutch Music Prize, the highest distinction conferred by the Dutch Ministry of Education, Culture and Science. He won the prestigious Borletti Buitoni Trust Award in 2006.
Jörgen teaches at the Amsterdam Conservatory and has been appointed International Visiting Professor at the Royal Academy of Music in London.
The directors are jointly empowered to represent the Splendor Foundation and to perform legal acts in its name.
The day-to-day management team of Splendor consists of the chairman, the treasurer and the business manager.
Norman van Dartel – Business Manager
Norman studied classical percussion at the Rotterdam Conservatory, working as a freelancer with various orchestras and ensembles. His focus gradually shifted to music management, resulting in a key role with the Rotterdam Philharmonic as producer and project manager for the internationally acclaimed Gergiev Festival from 2000-2006.
Taking a break from the music world, Norman spent two years as a sailing instructor on the North Sea. In 2011, Norman moved to Amsterdam, worked as location manager for the Waag Society, a cutting-edge institute for art, science and technology.
In April 2013, Norman became Splendor’s business director, in charge of all operations and insuring that Splendor’s unique business model is implemented throughout the organization.
The Vision of Splendor
Splendor was founded as a new music platform by and for performers, composers and other paradise seekers. Splendor functions as a cultural safe haven where music makers can work without interference from policymakers and cultural gatekeepers of outdated musical borders. The secret of Splendor lies in its one-to-one relationship with its members and general public. They call it Performing Arts 2.0.
Splendor doesn’t focus on any given music genre: from a Brahms marathon to a late-nite jam session with tablas and tap dancers: every week features unique concerts and presentations. And therein lies the special connectivity that is Splendor: it’s a meeting place for not only for a broad range of musicians, but for a broad range of curious listeners as well.
Each Splendor musician plays and produces one member concert per year and participates in one of Splendor’s larger annual events such as the Splendor Parade in Muziekgebouw aan ’t IJ. In addition, the musicians pitch in with various small tasks around the building itself including ticket sales at the door, bar duties and small maintenance. In order to realize their dream, all musicians make a one time investment of €1000 in the form of a bond.
In exchange, the building is theirs. 24/7. As one Splendor musician said: “Nobody tells you what to program and if you’re looking for an extra violinist, you can probably find a great one at the coffee machine.”
The business manager and the staff receive a market-based remuneration. In addition, the business director may receive a modest bonus based on specific targeted goals.
More information on the Splendor musicians can be found here.MUSICI SPLENDOR
What is Splendor?
Music is a majestic, and for many of us, essential part of our lives. It connects us through experience and bonds us through emotion. Celebrating this is what we do at Splendor every day.
A select group of 50 top-flight musicians and composers present a wide array of programs of every size and shape. These 50 artists often bring in their own groups and guests but just as often work in collaboration with each other. The heart of the Splendor programming consists of 50 unique concerts which are free for our members. These subscription concerts are called Ledenconcerten and cost only €100 for all 50! Non-members pay a normal ticket price, subject to seat availability.
While these concerts regularly feature the works of well-known composers, Splendor artists often go out of their way to find music from other, less known, musical mavericks and unsung heroes from both the past and present.
Splendor is a home for chamber music-making at its highest level in an intimate atmosphere. But Splendor doesn’t stop there. Music from all continents, both ancient and contemporary, finds its home in Splendor. And, of course, music of the 2Oth century and the present has a strong presence in Splendor. From jazz, free improvisation, live electronics and experimental pop to the latest in contemporary music: Splendor and its public are right in the middle of it. Splendor musicians regularly collaborate with makers of all types: from writers, poets, and theater makers to dancers, visual artists and designers. Constantly searching for new forms of music making to share with their public, they present concerts that ooze originality, urgency and excitement.
The personal touch of Splendor musicians doesn’t just stop with music: when Johan van Iersel isn’t playing principal ello with the Concertgebouw Orchestra, he’s applying his considerable sommelier powers to our popular wine selection. Why in the world is the signage in Splendor often in Gaelic? Ask oboist and Irish-born Aisling Casey: her annual St. Patrick’s Day festivities are on the bucket list of many an Irish tourist.
In Splendor, concerts can happen at any moment of the day or evening. From sunrise performances for our Musicians without Borders marathons to Claron McFadden’s legendary late-nite Vampire Jams, we don’t pay much attention to traditional concert practice. The atmosphere is informal, both during and after the concerts. And that happens because performer and public share the same space: they enter our concert spaces through the same door and meet up at the same bar afterwards.
In addition to our concerts, there are also open rehearsals, master classes (the Splendor Academy) and personalized clinics for companies. Children are especially important to Splendor. Splendor Kids offers creative activities for youth of every size and background.
The annual financial statements from previous years are here: