Lecturers

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Raymond Curfs

Born in the Netherlands, Raymond Curfs studied Percussion and Timpani in Maastricht, Cologne and Berlin with teachers such as Werner Otten, Pieter Jansen, Georg Breier and Rainer Seegers. After engagements as a timpanist in the Noord-Nederlands Orkest in Groningen, Stadttheater Bielefeld/Germany and the Rundfunk Sinfonie Orchester Berlin, he became principal timpanist at the Bavarian State Opera and Bavarian State Orchestra in Munich in 1999, under musical directors Zubin Mehta and Kent Nagano. Since September 2007, Raymond Curfs is principal timpanist of the Symphonieorchester des Bayerischen Rundfunks in Munich with Mariss Jansons as music director.

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Pieter Jansen

Pieter Jansen studied Piano with Jo Dusseldorp and Jean Antonietti, Percussion with Jean Semmeling and Conducting with Piet Stalmeier at Conservatorium Maastricht. He started his career as Principal Percussionist with the Limburg Symphony Orchestra in Maastricht. In 1985, he was appointed lecturer in Percussion and since 2008 he has also been a lecturer in Conducting at the Maastricht Conservatorium.

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Curriculum

Curriculum overzichten Classical BA - percussion.jpg

Admission

General admission requirements

Specific admission requirements Percussion

    Snare Drum
    Two études of contrasting character, to be chosen from:
    • J. Delecluse – Etudes Pour Petite Caisse
    • M. Peters – Intermediate or Advanced Snare Drum Studies
    • S. Fink – Studies for Snare Drum Vol. 3
    • Joel Rothman’s Rolls
     acciaccaturas, appoggiaturas and paradiddles
     structure of a roll
     sight-reading

    Timpani
    Two études of contrasting character, to be chosen from:
    • H. Knauer: Paukenschule, Volume 1
    • R. Hochreiner: Etüden für Timpani, Volume 1
    • F. Hinger: Technique for the Virtuoso Timpanist
    • J. Delecluse: Études pour 4 Timbales
     Tuning in thirds, fourths and fifths
     Performance of rolls in various dynamic gradations and accent patterns

    Melody instruments
    Scales and chords
    • major and minor scales up to four sharps and flats and corresponding triads, over a two-octave range in different rhythmic patterns
    • performance of one étude on xylophone and marimba, to be chosen from e.g.: M. Goldenberg : Method for xylo- marimba and vibraphone; études up to page 32
    • performance of one étude for vibraphone, emphasis on dampening and pedalling as explained by David Friedman in Vibraphone Technique.
    • command of the fundamentals of four-mallet percussion technique according to Holmjgren or L.H. Stevens

    Recital
    Performance of a recital piece, for example Keiko Abe – Memories of the Seashore.

    Sight-reading