New Members
Instrument Committee
With the departure this year of two valued members of the Instrument Committee, Francis Wammes and Monique Bartels, the Musical Instrument Fund was looking for new candidates. This fall, two new members joined the Instrument Committee, and we’d like to introduce them: Quirine Scheffers and Jan Ype Nota.
Quirine Scheffers
Violinist Quirine Scheffers studied at the Royal Conservatory in The Hague with Theodora Geraets and Peter Brunt and earned her master’s degree with honors. She continued her studies with Krzysztof Węgrzyn in Hanover and with Charles-André Linale in Utrecht. As the former first violinist of the Rubens Quartet, she has won prizes at numerous international competitions.
Quirine has been the associate principal concertmaster of the Rotterdam Philharmonic Orchestra since 2012.
In addition to her concert career, Quirine is dedicated to mentoring young talent. She regularly serves as a jury member for the Princess Christina Competition and the Dutch Violin Competition. Since 2019, she has been a chamber music instructor at the Royal Conservatory in The Hague. This year, she began serving as artistic director of “Klassiek aan het Lint,” a concert series for young talent in Berkel en Rodenrijs.
Jan Ype Note
Cellist Jan Ype began his studies with Jǐri Prchal in his hometown of Leeuwarden and continued his training at the Royal Conservatory in The Hague with Jean Decroos and in London with David Strange. Jan Ype has performed as a soloist with various orchestras in the Netherlands. He is very active as a chamber musician and gives numerous master classes both at home and abroad.
He is the associate concertmaster of the North Netherlands Orchestra and a professor of cello at the Prince Claus Conservatory in Groningen and at the Royal Conservatory in The Hague.
Instrument Committee
The Instrument Committee is the most important standing advisory body of the Musical Instrument Fund and consists of experts from the music world. The committee’s primary task is to evaluate applications from musicians; it also provides solicited or unsolicited advice on the acquisition policy and, consequently, on the composition of the instrument collection. In addition, it serves as a think tank for the executive board and the administrative office. The committee consists of a minimum of six and a maximum of eight members and meets at least three times a year.
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