Panorama De Leeuw

In the previous episode, we concerned ourselves with the so called ‘Kwestie-Schuyt,’ a conflict that had no winners but only losers in the end, and
that turned out to be a low point in de Leeuw’s career as an administrator. In contrast, there’s
an administrative peak: the formation of the
Fonds voor de Scheppende Toonkunst (a composer’s fund) in 1982.
The fund’s formation was preceded by years of struggle, starting in 1964. Original instigators
were Misha Mengelberg and Peter Schat,
followed by Nico Schuyt and Rob du Bois. Composers wanted to be taken seriously and demanded a structural support from the government, just like visual artists and authors before them. They argued for a Fonds voor de Scheppende Toonkunst, analogous to similar, pre-existing organisations for visual arts (Beeldende Kunstenaars Regeling) and writers (Fonds voor de Letteren), that would divide the government’s financial aid.
The endless tug-of-war between composers and the government finally gains momentum after Reinbert de Leeuw’s appointment as chairman of the board of the fund (abbreviated to Geneco) in 1979. He is responsible for the final boost and in
1982, the Fonds voor de Scheppende Toonkunst has become a reality.
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1. Misha Mengelberg. Omtrent een Componistenactie.
Danzi Quintet.
2. Peter Schat. Collages, for 31 tone organ.
Joop van Goozen, 31 tone organ.
3. Rob du Bois. A Dog Named Boo.
Herman Brauen, clarinet. Else Krieg, violin.
Marja Bon, piano.
4. Tera de Marez Oyens. String Quartet ‘Contrafactus’.
Dufy Quartet.
Engineering: Ger van den Beuken