Eva van Haaften

Which sound corresponds to which feeling, and does it sound the way I want it to? What am I feeling, and how do I express that on the violin? Whether I’m studying, rehearsing, or giving a concert, these are the challenges I set for myself. It’s wonderful to use these timbres to create a new sense of unity with my fellow musicians and the audience.

I studied at the Conservatorium van Amsterdam in the Master’s program, with Barnabás Kelemen and Liviu Prunaru as my primary instructors. In the meantime, I make music in all sorts of ways. In October 2016, I performed the Sibelius Violin Concerto with the Györ Philharmonic, and I’ve played a lot of chamber music with, among others, Daniel Rowland, Laszlo Fenyo, Jonathan Cohen, Thomas Dunford, Eva Stegeman, Esther van Stralen, and Joel Waterman. I also enjoy playing with the Chamber Orchestra of the North and the Oneiros Ensemble.

Going to a concert is like listening to personalities. The composer’s personality, the musician’s personality, but also the instrument’s personality! The violin is like an extension of yourself, so it’s crucial that it suits you perfectly. Thanks to the Musical Instrument Fund, this has worked out well for me several times.  I received my first violin on loan from the fund at a young age, a week before the Iordens Violin Days, where I went on to win first prize—a Johannes Jacobs from Zeeland. Later, there was a beautiful Pressenda that, unfortunately, had to be returned due to the owner’s circumstances, and even then, the Musical Instrument Fund came through at the last minute with another fantastic instrument—a beautiful Lupot. Now I’ve since switched to a very fine, bright Vuillaume from 1850 that happened to come across my path while the other instrument was being repaired; it was love at first sight, so I ultimately decided to make the switch.