‘It’s natural for me to explore and connect the dots. I myself am a mixture of the artistic research I do throughout my life and my love for icons of jazz like Lennie Tristano or Wayne Shorter.’
The improvisational now
‘There’s nothing more exhilarating than transforming musical traditions of centuries into a single point in time: the improvisational now.’
‘Jazz, Western classical music and Middle Eastern music are deeply rooted within my system. Foreign techniques drive my search for original ways of composing. I love to make rich harmonies and poetic rhythms collide and merge, preferably in fascinating meters such as 23/8 or 11/4.’
Percussionist Vinsent Planjer and bass player Tony Overwater are of like mind. The Rembrandt Trio have travelled the world with original compositions, and collaborate with jazz colleagues like Paolo Fresu and Sylvain Rifflet.
‘Rembrandt Frerichs’ playing is as memorable as his first name: a young musician with remarkable chops who’s also developed an easily-recognisable
— All About Jazz
personal style.’
The classical now
‘When Mozart performed, he played Mozart. And he improvised. In that respect, I might be closer to the old composers than many contemporary classical musicians.’
Strong personalities embrace Rembrandt’s contemporary way of working with classical structures as a challenge to get out of their comfort zone. Among them are Liza Ferschtman and Rick Stotijn (Netherlands), Kian Soltani, Mahan Esfahani and Dominic Seldis (United Kingdom).
Classical ensembles invite Rembrandt for compositions or collaboration, such as Holland Baroque, Amsterdam Sinfonietta, Netherlands Chamber Orchestra, Cello Octet Amsterdam, New European Ensemble and the Cello Biennale. Musicians of the Royal Concertgebouw Orchestra have commissioned a piano concerto to be premièred in 2021.
– The Historical Keyboards:
A Personal Pioneering Journey in Pianistic Sound Colors
Many of my albums and projects over the past 15 years reflect my desire to revive the sound of historical instruments in the present. With my (perhaps unorthodox) approach to historical keyboard instruments such as the harpsichord, spinet, harmonium, the Erard straight-strung fortepiano, and the modern Steinway, I am constantly seeking a soundscape that feels familiar to the connoisseur yet surprising to the wider audience.
My use of these instruments is not merely a stylistic experiment but a deliberate attempt to explore how the individual character of these instruments influences my musical expression. Rather than always opting for the standard modern grand piano for my concerts, I often seek out sounds that push and challenge my musical boundaries. I have always been drawn to instruments with a story to tell.
The harpsichord, for example, popular in the Baroque period, offers a bright, percussive sound that is worlds apart from the resonance of the modern piano. This presents unique challenges for me, such as the need to emphasize melodic lines more rhythmically and articulately.
A pivotal and somewhat intimidating step in this exploration was when the Dutch National Musical Instruments Foundation commissioned a replica of the Walter fortepiano from 1790, the very model that stood in Mozart’s home, to be built specifically for me. Chris Maene built this remarkable piano, and since 2014, I have undertaken countless projects with it, including classical endeavours as well as ventures into Persian classical music.
Another exceptional instrument in my arsenal is the Erard fortepiano, a beloved instrument since 1770 that particularly inspired composers such as Ravel, Chopin, and Liszt during the 19th century. The Erard’s straight-strung design allows for much subtler dynamics and a light touch that lets you almost whisper on the piano. This quality enables me to explore nuances that can easily be lost on modern instruments, which often feel more mechanical in comparison.
The harmonium also plays a surprising yet essential role in my work. Often associated with church and salon music, the harmonium produces a unique sound through its air-driven reeds. When I play the harmonium simultaneously with the piano—harmonium in the left hand and piano in the right hand—it creates a texture unlike anything else. In my approach, I give the harmonium an equal role alongside other instruments, rather than using it solely for traditional harmonies. Through extensive experimentation, I’ve discovered that the harmonium offers a tonal color that perfectly complements my pursuit of intimate and ethereal musical experiences.
While I find great inspiration in historical instruments, my 1896 New York Steinway grand piano remains a cornerstone of my work. This modern instrument provides a dynamic range and a playground for my technical explorations, which are essential for developing complex musical structures. I often use the Steinway as a foundation to contrast and blend with historical sounds.
My choice of historical instruments is more than a stylistic experiment; it is my personal philosophical journey into sound. I invite my listeners to reflect on the evolution of sound and how instruments have shaped our perception of music. In my concerts and recordings, these historical instruments are not museum artifacts but living entities that take the audience on a musical journey through time.
By introducing these instruments into improvised music, I also aim to open doors for my colleagues to explore new possibilities with me, inviting the audience to think beyond conventional boundaries. The projects I realize with these instruments remind us that music is not only a bridge between cultures but also between eras.
Through my concerts and album releases, I strive to show that history does not have to be static. On the contrary, vintage instruments can pulse with life and inspire creativity. My personal journey raises questions about how the physical characteristics of an instrument have influenced the development of musical styles and, I hope, contributes to the ongoing exploration of the significance of historical performance practices in today’s music. Through my explorations, I aim to demonstrate that studying the past is not merely an academic exercise but a source of ongoing creativity and discovery.
The Rembrandt Trio performs on a regular basis with some of the most iconic stars in world music, such as masters of Persian music Kayhan Kalhor and Hossein Alizadeh.
‘One of the highlights of the North Sea Jazz Festival’
— Jazz Magazine
Artistic initiator
Festivals seek after Rembrandt’s expertise and ability to create unorthodox musical connections by giving him carte blanche on programming.
Among them are contemporary music festival November Music, literature festival Crossing Border and Classical Encounters The Hague, and renowned concert halls such as Concertgebouw Amsterdam, De Doelen Rotterdam and TivoliVredenburg Utrecht (Netherlands).
With the Rembrandt Trio, he initiates a yearly series ‘Music made in Europe’, celebrating the best of European jazz and improvised music, with guests such as Paolo Fresu (Italy), Vincent Peirani and Sylvain Rifflet (France) and Verneri Pohjola (Finland).
In cooperation with leading museums in the Netherlands, the trio explores the space for musical improvisation and visual arts in ‘The Art Of The Trio’.
‘In the composition Zombi Zua by Misha Mengelberg, Rembrandt is an alter ego of the composer, his playing being so obstructive and headstrong.’
— Friesch Dagblad
Rembrandt is professor Jazz piano at the Conservatory of Utrecht. As a guest teacher he regularly works with new generations at the conservatories of Padova (Italy), and Rotterdam, Groningen, Amsterdam and Den Haag in the Netherlands.
Many of his compositions have been used for TV documentaries and theatre plays.
Rembrandt plays a Chris Maene fortepiano especially built for him by and on very kind loan from the Dutch Musical Instruments Foundation.
In addition to the selected discography, albums released with Rembrandt as leader include:
- Self Portrait (2006, debut album)
- Ordem & Progresso vol. I & II (2009)
- Sehnsucht (2010)
- Levantasy (2011)
- Continental (2012)
- Acoustic Compass –feat Oded Tzur(2013)
- A Long Story Short (2014)
- Living Here (2017)
- The Contemporary Fortepiano (2018)
- It’s still autumn – feat. Kayhan Kalhor (2019)
- Graffiti Jazz (2020)
- Same Self, Same Silence — feat Hossein Alizadeh ( 2021)
- A Wind Invisible Sweeps Us Through The World (2021)
- Piano Concertos #1 & 2 —Alma Quartet & Dominic Seldis (musicians Royal Concertgebouw Orchestra) 2022
- The Standards collection volume 1. Efraim Trujillo (sax) & Rembrandt (2022)
- Rembrandt Trio & Mohamed Motamedi “Intizar” (2023)
- Rembrandt & Staps Quartet ‘The First at Last” (2023)
- Kayhan Kalhor / Erdal Erzincan & Rembrandt Trio (scheduled for 2024)