Where music sounds, you are at home
Adams A-magazine. Sep 2021- Especially during the iconic Boléro by Maurice Ravel
and the famous "Second Waltz" by Dmitri Shostakovich, Sanne Mestrom
has to work with her saxophone in the Johann Strauss Orchestra of André Rieu.
Although she is mainly of service to the collective and flamboyant orchestra
leader, the modest saxophonist still enjoys the spotlight that is occasionally
focused on her. “The fun we have on stage is authentic. We enjoy the music and
the enthusiastic audience that flocks from all corners of the world to experience
André's show. Because that is what it is every time, for us, for André and for
the public,: a unique experience.”
A conversation with a passionate musician who as a child was already captivated by the magic of André Rieu and his orchestra. “I found the combination of music with visual aspects (including the dazzling dresses) irresistible. Now I've been a part of it for years. Music is pure joy. You see that, you hear and it and you feel it."
AROUND THE WORLD
Sanne Mestrom (1984) would have preferred it to be differently. Then this year she was once again crisscrossing around the world to convey the universal message of the language of the heart, evening after evening in André Rieu's orchestra. Corona threw, like so often, a wrench in the works. Never the less, during the meeting at C-Mine in Genk, Sanne shows herself in a good mood and optimistic about the future. “We are definitely going to pick up the thread again. Everyone is eager to go wild. I myself by nature am quite impatient and quickly bored. That's why I took singing lessons. In that sense I have used the time well to take my interest in singing again a bit more seriously. There is no point in sitting back and down. Whenever it is possible, all of us are ready to go wild.”
MORE MUSIC
Sanne Mestrom has known that since she joined the Johann Strauss Orchestra in 2005, that music touches hearts and is boundless. Her proverbial playing field stretches from Shanghai to Buenos Aires and from Mestreech to Oklahoma. André Rieu has grown into a wear-resistant global brand. “Seeing merry people is the most beautiful thing there is. From the stage we are confronted with a large, cheerful crowd night after night. A greater energy boost is unthinkable. What could be more beautiful than seeing people having the time of their lives, being touched by heartwarming music? That never gets boring. In fact, you would wish the world's population much more music in their hearts.” There is no shortage of superlatives. André Rieu was not placed in the cradle in Maastricht for small potatoes. His career revolves around the grand gesture. Creatively, there is never a lack of ideas. As a child, Sanne Mestrom was already mesmerized by the fairytale atmosphere which surrounded André Rieu and his orchestra's concerts. “At home in Maasbracht-Beek with my parents and two year younger brother, I dreamed away in front of the TV, when I saw André with his orchestra. I absolutely loved seeing contrabass player Jean Sassen the orchestra. I already knew him as the conductor of my marching band, who from my birth on has taken a central place in my life. I dreamed that one day I would be standing there too.”
FATHER'S BRASS
LESSONS
The first sound Sanne heard must have come from the brass sounds of her father's students. “My father is a passionate musician. He was a brass teacher in the evenings. During the day he worked as an HR manager. My mother worked in the X-ray department of the hospital. The sound of the trumpet attracted me. And like any curious child I tried to play that trumpet. When I was five I took piano lessons with Gaby Devies. That went more playful-wise. At home we also had a piano, so I played on it. I also played violin for a while. People who love music also love each other. But my love for wind music really ignited when I came in contact with the sound of the saxophone. The saxophone section of my marching band consisted of the best saxophonists in the Netherlands: among others like Marlaine van Lier, Jean-Pierre Cnoops and my uncle Frank Meuwissen.” “Those people – all professionals – put me on the track of the saxophone. I am eternally grateful to them for that. Fortunately I could not escape their great sound and influence.. It was a luxury to have these people near me. Frank Meuwissen gave me my first lesson. He plays in the Glenn Miller Orchestra and occasionally with Rieu when multiple saxophones are needed. Nothing is more valuable than learning from the best."
BAND, AUDITION AND
BOLERO
“It is extraordinary that a village in Central Limburg, in this case Maasbracht-Beek, has so much musical talent,” Sanne continues. “But it's also not for nothing that wind music, thanks to all those brass bands and marching bands is so good internationally. Our marching band has become champion no less than three times in the concert department at the World Music Competition. I still play in the marching band, when I'm in the area of course. That bond is very strong.” Although the music was a factor of great significance, Sanne was not quite sure what the future had in store for her during her stay at VWO in Echt. "I honestly had little real interests. I've always loved making music, but I didn't take into account that I would really make this my profession. I went to the Conservatory in Maastricht. There I combined saxophone with Norbert Nozy and Arno Bornkamp and piano with Tonie Ehlen. I did not taste much of the wild student life.. I was always working and studying. Already in my second year of study I ended up with André in. Jean Sassen, the double bass player with André Rieu and conductor of my brass band, called my father to ask if I wanted to audition for André's Vrijthof concerts. Of course I went to Maastricht; the audition was right away the next day so there was little time to prepare anything. But it turned out well. Andre was very nice. But he didn't make it easy for me either. He tested my dynamics. From very soft to rock hard; I had to be able to play it all.” Laughing: “I was not prepared to play the Bolero and that was exactly what he told me to play. It went really fast. He thought I should immediately stay for the subsequent rehearsal. I have never left."
JETLAGS AND SCALES
She completed her Conservatory studies between the
various tours and jetlag. In the meantime she has now crossed the world a
number of times with the orchestra. That never goes on autopilot, the
impressions are too great for that and the magic of the music and the crowd too
overwhelming. “It touches me every time to see how big André is abroad.
Traveling can be exhausting at times but we always make it a party. Fortunately
I can sleep well en route. We are on the road day and night. It's nice that we
always eat together. That sense of groups community is important. I am
especially grateful to be a part of that musical family. In addition, I have
been given the opportunity to develop within the orchestra.. For example, on
André's advice, I also started playing the bassoon. Music offers endless
opportunities to continue learning, to develop yourself. I dare to say that we
as an orchestra have become better and better in recent years.” She is still in
love with the sound of her soprano saxophone. “Andre also has something to do
with the sound of that instrument. He especially likes the classic timbre. I also need that sound for our repertoire as
well. But the instrument is so versatile that it also comes into its own in the
pop genre and in jazz. In fact, the sax forms a beautiful bridge between the
traditional wood and copper. To improve my skill I still play almost every day.
Yes, scales too.
PATER FAMILIAS
“Every member of the orchestra is equally important. It's more than a team, it's family. That mutual bond is essential. In my experience you can hear and see that we trust each other. That bond has only grown stronger in recent years. Of course, not everything is unicorns and clovers. We also have had hard times. Especially when our orchestra member Ruud Merx suddenly passed away. That is an indescribable loss and a pain we still feel. But we also continued in his spirit and grew further. At times when it is difficult, André is there as a father figure, a Pater familial. And this corona time is of course also difficult for us. I think people are craving to see us back at work again. Music in these difficult times is more important than ever. We are ready for it,” says Sanne resolutely. “I have been living back in my native village Maasbracht-Beek for a while now. That's nice. Especially if you're on tour so many times. A good home front is of great important to me. Sometimes I teach. Then I receive students at home. It's nice to share knowledge, especially with young people. The survival of musical culture is close to our hearts in the orchestra and André in particular. That's why it's so good that Adams, who I've been visiting since I can't remember when , is helping to get projects off the ground that will help children into contact with music.
HOME FRAGRANCE
Sanne's world consists of music, that much is clear. “I still play in the marching band. That's kind of a home fragrance that I experience there. In that aspect, the marching band can easily be compared l with the Johann Strauss Orchestra. There too, I experience that same familiar bond. Music does so much for people. You should know how many couples I have seen fall in love again over the years during our concerts. People who love music ultimately love each other too. That is the message we are bringing, wherever we are in the world. Where music sounds, you are at home.
AMagazine van Adam’s Music Center: Author: Ludo Diels: Photos: Hugo Thomassen: Styling/hair/make-up: AgAtelier
Thanks to Ineke for the article and her and John's combined translation
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