You can rewatch the 'Spring Festival Online 2020' 
in the embedded youtube playlists, and the link below.
Day one:
Day two:
Day 1. April 14, 19:00–21:00

Yóuell Domenico
Patrick Ellis
Sebastiano Evangelista
Thanakarn Schofield 

Please, Sink HMS (Her Majesty’s Service) – A Musical Suite

Cody Takács, double bass and electronics

Eva Beunk 
Somt op (sums up)

Maarten Bauer, saxophone
Amba Klapwijk, piano
Jeroen Spieker, guitar
Eva Beunk, trumpet
Somt Op is a network-game piece in which each player has a set of words they have to react to.  The pitches that are linked to the words colour the enumerations.

Hidde Kramer 
Valse Lente/False Spring

Sterre Decru, alto
Ruth Mareen, violin
False Spring is a song set to the poem of the same name by Jan Wolkers. In the piece the relationship between spring and winter is explored, and the brief moment they might coexist, when spring shows her first signs of life, and laments her inability to coexist with winter.
Robert Coleman
Pim Piët 

City Koto Triptych

fixed multimedia
City Koto Triptych is an audiovisual composition featuring the City Koto, an instrument designed by artist Pim Piët. I recorded improvisations in three closely related tunings and formed the work from this material. The visuals also feature additional imagery of the instrument, creating shifts in the visual scale, allowing for different perspectives on the sound.

Daniil Pilchen
Four songs
Ábel Fazekas, clarinet
Arie Verheul-van de Ven, viola
Eva Beunk, trumpet
Myrtó Nizami, piano
Sasha Elina, flute
Seamus Cater, concertina
Vasilisa Filatova, violin

Hidde Kramer
The Voices Inside
Harry Golden, processed tuba
The Voices Inside is an exploration of sound. A sound field is created around the sound of the Tuba, exploding its inner voices outward and setting it in a different light. 
Day 2. April 15, 19:00–20:30

Arie Verheul van de Ven
Duo for Altered Violas Altered for Single Altered Viola
Arie Verheul van de Ven, viola and electronics
While the Violin has a very specific set of dimensions and proportions, the viola is something  more vague. The viola is more of a category of a kind of object than a specific thing, and I wonder what sits on the edge of that category of violas (and violists)
Originally for a pair of "altered" instruments - a viola played on my lap and a wheelbarrow with four strings. This performance is an improvisation on the material written for these two kinds of violas.​​​​​​​

Myrto Nizami
Mieke Robroeks

Algal Bloom
fixed multimedia
Algal Bloom is an audiovisual work where movement and delay play an important role in both music and images.
There are several layers. The light is gradually being reduced until not even a small line is visible anymore. It gets darker and darker. It is becoming increasingly isolated. It dies. Perishes. In the deepest and most distant place of the world, there seems to be nothing. Yet the remains that seemed worthless in another environment are now proving to be costly. One maintains the other. This way the circle is maintained.
The music is generated from pre recorded material, while the synthesized sounds vary accordingly. While image and sound are bonded together they, gradually, become more and more independent of each other, creating a new, contrapuntal layer.

Yóuell Domenico
Arie Verheul van de Ven, viola and electronics

Harry Golden
Harry Golden, voice and piano

Wilf Amis
The Future of Music
Wilf Amis, live electronics
Making music while you shit is the inevitable future of music, time will tell whether that’s in the dystopia where toilet breaks are our only chance to think for ourselves, or the utopia where it is possible to control generative music from a small device in the palm of your hand. Or indeed the dystopia where both of those possibilities can coexist.

Welcome to the third day of the Spring Festival Online. 

Today we are doing things a bit different.
We are hosting an 8-channel installation "Emancipated Fauna" by Tilen Lebar.
To listen to the piece, follow the link below.

Day 3. April 16, All Day

Tilen Lebar
Emancipated Fauna (2020)
eight-channel sound installation
(commissioned by CONA Institute For Contemporary Arts)

The Emancipated fauna is relating to the animal industry and its industries (including livestock, entertainment, textile, etc.) and puts its focus on the alienated individual from these industries and the reflection on the oppression of an individual who succeeds in cultivating a distant attitude towards oppression and morbidity towards non-human animals and labor exploitation in the livestock sector (especially in slaughterhouses). Because this kind of action is socially dominant, there are global, worrying trends (both in the relation to non-human animals as well as to humans and the environment) which are mostly negated by society. The market can thus without any critical scrutiny still operate with the benefit of exploitation.

During the project, I was wondering »Why can we easily buy a product of an animal origin, while not being able to kill our pet, and at the same time we do feel that such an act would be unethical?«. We also own "pets" we buy and sell and thus at least symbolically link them to the level of an item. But is there such a difference between a "pet" and a creature that has a shelf life and use-by date?

Despite the oppression of an individual who brings an estranged attitude to the living being, most people are conscious and refuse to face his participation in the act of murder - we prefer to leave that to the Other (in a society deprived and stigmatized butchers). This is how we wash our hands over the massive slaughter and exploitation and responsibility for him (in the seemingly good of our psychological health) is shifted to the food industry, which then follows the capitalistic paradigm, sector growth and profit growth. So far, it seems to be growing along with the sector the degree of naturalization of the human disposition of humans.

The sound installation responds to this problem with the very nice "plasticized" sounds that
can be understood as products of animal origin, neatly packaged in plastic and in handy
to use. May this work relieve us of oppression and raise in us the awareness that all these sounds are
the result of the exploitation of non-human animals, as well as of workers who care that we do not need 
to enter the world of large (and small) farms and slaughterhouses and in some way (by psychological
they take trauma on their shoulders) protect us against psychic suffering. Let us falling 
drops of blood, screams, exhales, growls and sounds of abrasion in a living body bring a new
sonic experience of approaching and raising awareness of the covert.    

We are organising this event because we want to continue presenting the pieces we have worked on all year to the best of our ability. Unfortunately this year, we were not able to perform them in The Hague due to the COVID-19 crisis. With this, it is obvious that worse yet, many of the pieces we have are simply not adaptable, and so have to be held off for a different day. However, we are looking to keep the spirit of the composition department alive and celebrate what we can do rather than cannot.
We see this as an opportunity to explore a wide range of possible networked concert situations: from fixed-media pieces and solo performances to ensemble pieces played by people from different countries, pieces with live electronics, and sound installations. And, since for many of us this online format  is unknown territory, we’re exploring it not only from the qualities of the medium itself but also from imagining a general concert situation and how we can “replicate” that in this medium. This approach is really interesting and it doesn’t exclude the spirit of exploration. By tailoring the technology to our needs, we’re discovering something unknown to us and finding ways to employ it in our music.
We’re having participants who are currently staying in many countries throughout the northern hemisphere. During the concerts, we are not only playing together but having transitions from one “set” of places to another, offering a journey and connecting with people from many different places in real time. Yet, we’re trying to keep the continuity of the concert situation and we want to make the transitions as smooth as possible.
This is also made possible thanks to Studio LOOS, who offered us their help and their space with a high-quality internet connection. Firstly, as a hub that reroutes all the sound and video from participants to the viewers, and secondly, as a space that will host some of the performances.
Pieces we have prepared: Performers/Improvisers with Electronics, Live electronics, Live electronics with Vocalists, Acoustic performers streamed from across the world, 8 Channel Sound Installation, Fixed Media/visual pieces, Pieces for Philosophical Ponderings and Broadcasting Shenanigans from private spaces. 
Composers: Eva Beunk, Hidde Kramer, Robert Coleman, Daniil Pilchen, Yóuell Domenico, Arie Verheul van de Ven, Myrto Nizami, Harry Golden, Wilf Amis, Tilen Lebar, Ábel Fazekas
Artists/performers: Mieke Robroeks, Pim Piët, Maarten Bauer, Amba Klapwijk, Jeroen Spieker, Sterre Decru, Ruth Mareen, Sasha Elina, Seamus Cater, Vasilisa Filatova, Cody Takács
Happy watching!
The organizing team: Danill Pilchen, Domenic Jarlkaganova, Hidde Kramer, Arie Verheul-van de Ven.