The Britten Youth String Orchestra is 10 years old. Conductor Loes Visser: 'I'm still learning every day'

Already during her studies, Loes Visser (1959) formed the Alpha Chamber Orchestra. In 1990, she initiated the Adamello Ensemble and, seventeen years later, she founded the Britten Youth String Orchestra, with which she is now celebrating its second anniversary. What drives her and what are her best experiences?

Chamber Orchestra

'I founded the Alpha Chamber Orchestra because there was a need for it,' says Visser, who studied violin at the Sweelinck Conservatorium in Amsterdam and conducting with Ru Sevenhuijsen. 'There were a lot of people in the preliminary training and first year but there was no orchestra for this stage of the study. My fellow students wanted to gain orchestral experience and I wanted to conduct. Setting up my own chamber orchestra cut both ways. I was only nineteen and it was a great learning experience.'

In 1989, she was asked to lead a 68-piece chamber orchestra on a concert tour. 'We performed with great success in Italy and Hungary. In northern Italy, the nature friends of the Adamello mountains asked me to return with a somewhat smaller orchestra. To this end, I formed the Adamello Ensemble, which consisted of twenty-eight to forty musicians depending on the chosen repertoire. For years we spent two weeks every summer in Italy, with fantastic Italian food and a concert every day. People were hugely receptive and were moved to tears, for example, by Variations for Strings By Tristan Keuris.

New momentum

When she moved to Zwolle in 2003, she was soon asked to take charge of the Constantijn Youth String Orchestra. 'I managed that for two seasons, but then we started all over again, with a new board, a new name, a new set-up. And above all: with new élan.' Together with Yke Toepoel, head of the classical department of the Artez Conservatoire, she mapped out the route for what will be called the Britten Youth String Orchestra: 'First of all, I wanted a fresh look for the orchestra. Furthermore, I think it is important for young people to learn about the whole spectrum of styles. From baroque to classical and from romantic to contemporary.'

Monthly concert

To give the musicians experience of orchestral practice, at least one concert is given every month. 'I don't see anything in working on a programme for four months, giving two concerts and then working for another four months. I want to take a professional approach and keep the momentum going. Through those regular performances, the youngsters are constantly stimulated and learn to work towards something.' Fixed part, moreover, is an annual tour and a CD. 'Apart from that, we do a lot of other things, but that basic format has proved very successful and provides a nice foothold.'

Playing at level

Visser sees it as a spearhead to lift young musicians musically to a higher level. 'My vision is that they should really be able to do something by the age of 12. Everyone auditions, so they already have a certain level. They have to be proud of their talent at a young age, otherwise it will be difficult to bind them to your orchestra for years. So I strive to have them play with peers of the same high level right from the start. We also work with guest soloists they can relate to. For instance, we have played with Liza Ferschtman, Daniel Wayenberg and Gavriel Lipkind. It is inspiring for them to perform with such luminaries, it really lifts them up.'

Optimal conditions

Visser is constantly working to optimise conditions and makes every effort so that the youngsters can develop to their full potential. 'So not only playing in back rooms with terrible acoustics, but also in beautiful churches and on big concert stages. I also always see if I can use orchestra members as leaders or soloists. It is also necessary that they are well coached, have good lessons and learn to be disciplined. We rehearse every week, which is quite a task. It is therefore essential that the parents are fully behind it. Meanwhile, the orchestra has grown so much that most of the players are in a young talent class or have even progressed to the conservatoire. The level has definitely risen; some have even won the Britten Competition.'

Own contribution young musicians

The musicians can also submit wishes, in terms of repertoire or otherwise: 'I then try to realise these. For instance, the violinist Sybren Holwerda really wanted to perform with Charlie Seam, a famous English violinist and fashion model. I called Seam's management and he came! He strode in, as it were, in his fancy Armani suit and played beautifully with us the Poème by Chausson. Sybren was so inspired that he is now studying in London. Altiste Jeltje Quirijnen was keen to get the Serenade by Tchaikovsky. We had done the third and fourth movements of that before, but because she was keen, I put it on the programme again in its entirety.'

Conductor and coach

Visser enjoys working with young people: "I love conducting a professional orchestra, but the great thing about working with young people is that, besides being a conductor, you are also a coach. Each musician requires a different approach, which is something I learn every day. You work intensively together, see each other every week, often for years. Most of them arrive around the age of 12^e in the orchestra and leave around their 20^e, which creates a family feeling. Everyone who contributes does it with heart and soul. Moreover, the beauty of the Britten is that the programmes return regularly, so that there is depth. The musicians grow in the music, which is fantastic to witness.'

In ten years, there have been around 60 young musicians and many highlights. 'The tours are always a celebration. And the first time we performed in Theatre de Spiegel, with Tata Mirando's gypsy orchestra, was unforgettable. There are also top moments with the great soloists, like recently Maria Milstein in Mozart's Third Violin Concerto. Special were the also performances for the Royal Family, for instance when we played for them in fancy dress during King's Day in Zwolle.' But the absolute highlight for me is still that three years ago we won first prize at the Summa Cum Laude Festival in Vienna.'

Summa cum laude

'I still remember that the organisation did not allow us to play standing up. All the chairs were ready, but I said: we are going to stand anyway. I had prepared the musicians well and asked: what are you going to give to the audience sitting in that hall? Everything came up: joy, quality, inspiration. Well, with that we went on stage. Immediately all chairs aside and played. Afterwards, the jury said: you stood there with such conviction, this borders on the professional. And gave us first prize. Great that we won it with our own character, with how we want to do things. The cheering enthusiasm of the musicians was heartwarming: we won!'

After so many wonderful, positive experiences, is there anything left to wish for? Visser: 'I would very much like to see the Divertimento of Bartók. For that, all members of the orchestra really need to be at the top level, that's what we're going to strive for'. For a moment there is silence, then it sounds decidedly: 'We are going to make that happen!'