From dissecting insects

to

playing Dvořák

Why is the Bechstein such a good fit for you?

“This Bechstein grand piano from the Musical Instrument Fund stood in my room in Amsterdam for four years. It was the first grand piano that truly felt like my own, so I grew very attached to it during that time. I love the instrument’s light touch, and it suits the repertoire I play very well. It’s also a beautiful grand piano aesthetically, with a lovely music stand. I used to decorate it with little charms or ribbons. When I returned to Amsterdam, it felt completely natural to me to be reunited with the Bechstein.”

Have you thought about trying a different wing?

“Yes, because the Bechstein is missing some keys. It’s a fairly old grand piano, from 1904. I remember studying Prokofiev for my bachelor’s recital, but I couldn’t play the highest notes. So I’d just tap the wood, as if they were there. That’s why I briefly considered choosing a different instrument, but I get very attached to things. For example, I always keep souvenirs. Because of that special bond with the Bechstein, I couldn’t just abandon it. It has always been a faithful companion. I’m glad I made that decision. After all, returning to Amsterdam was quite nerve-wracking. A lot can change in a year, but seeing the grand piano again gave me a sense of stability.”

How does the instrument fit into your repertoire?

“I generally play a fairly lyrical repertoire. For example, I enjoy accompanying vocalists and play a lot with sopranos. Right now, I’m also in a duo with a singer. We play a wide variety of pieces, and I think this grand piano suits that romantic, German repertoire very well—think Schubert, Brahms, and Schumann. We’re also currently working on music by Josephine Lang, a Romantic-era composer. The grand piano complements that beautifully as well. It has a warm tone. I find some Steinways to sound rather heavy, but this Bechstein is very soft.’

How has your skill level developed over the years?

“I think the difference lies more in my approach to music, because I’ve actually been playing the piano my whole life. I remember going through a crisis toward the end of my bachelor’s and master’s programs—one that many musicians can relate to: ‘Do I want to continue with music for the rest of my life?’ Since I was also studying psychology, I wasn’t sure whether I wanted to pursue a career in psychology and science or really commit to music full-time.”

My forensic studies in London were like a break from playing the piano for me. During that year, I realized that I really missed playing the piano and learning new pieces. This confirmed to me just how much I love making music.

What was that year in London actually like?

“I was doing CSI-type stuff: analyzing crime scenes, dissecting insects, and writing my thesis. At the same time, I’d just play Ravel and Dvořák in between. For my thesis research, I worked with flies that are attracted to a dead body. I let those flies lay eggs on chicken or duck liver, from which maggots hatched. Then I dissected them and investigated whether I could find DNA in their intestinal contents. And I could! That way, even without a body, you can still gather information about a victim. It’s actually pretty bizarre how useful insects can be.”

How do music and science relate to each other in your world?

“It’s funny, because I always thought: Maybe I’ll find a way to connect all these things. I thought about music therapy, for example. But now I actually like that they’re two separate things. To me, it feels like when I need a break from one, I can switch to the other—and vice versa. It also takes the pressure off. I love having different roles, both on stage and off.”

"This year, I'm focusing more on music, and I'm trying to learn Dutch. That feels really good, because last year I was more focused on forensic science than on music. I don't think I necessarily have to combine the two. I just do what feels right, and right now, music feels best."

What are your plans for the future?

“I’m focusing mainly on music right now. I’ve found new energy and left my insecurities behind a bit more. I’m really looking forward to working on new projects. For example, I’m playing four-hand pieces with pianist Jorian van Nee. We’ve arranged Ravel’s Boléro for piano with additional instruments such as xylophone, gong, woodblock, and melodica. We play pieces that you wouldn’t normally associate with four-hand piano. I also have a duo with singer Elles Venhuizen. We’re experimenting with our program so that not only the singer but also the pianist takes center stage.’