- Started in
- Musician type
- Host institution
- Leiden University
- Personal website
- The Netherlands
Violist Emlyn Stam is active as a chamber musician, soloist and orchestral musician in the Netherlands and throughout Europe. For seven years he was assistant principal violist of the Residentie Orkest in The Hague under Neeme Järvi. Other orchestral work has included appearances is as a guest principle with Philharmonia Orchestra, the BBC Welsh National Orchestra and the Toulon Opera. Emlyn Stam has made numerous appearances for Dutch radio and television, he has appeared as a soloist with the Amsterdam Symphony Orchestra and the Schönberg Ensemble. He has also performed at numerous festivals such as the Kuhmo Festival in Finland, Sound of Stockholm, Connect Festival, Giverny Chamber Music Festival, International Chamber Music Festival Utrecht and Grachtenfestival Amterdam. Chamber music performances have included concerts with the Parkanyi Quartet in the Concertgebouw and regular appearances with the Ysaÿe Trio of which he is a founding member. The trio released their first cd. in 2013 on the DRC label. Emlyn is a founding member of the New European Ensemble as well as the ensemble’s Artistic Coordinator.
Emlyn finished his Bachelor’s degree in June 2006 and his Master’s in September 2008 at the Royal Conservatory in The Hague having studied with Ferdinand Erblich and Vladimir Mendelssohn. Further studies have included masterclasses with Pinchas Zukerman, Michael Tree, Yuri Bashmet, Roberto Diaz, Tabea Zimmerman, Kim Kashkashian and Gerald Stanick. Emlyn also plays the Viola d’Amore.
Early 20th Century Performing Styles in Viola Playing and Chamber Music and the Search for Contemporary Applications
The widespread availability of early-20th-century recordings has revealed to us the rich and changing performance history of the 20th century. The evidence presented to us by historical recordings conflicts with many current day narratives about our own performance practices in Western Art Music. Current performance practice is greatly influenced by the ubiquitous presence of highly-edited digital recordings and structuralist, textual approaches to music.