“It feels like coming home” – Xandi van Dijk on Perfectly Free and the power of festivals
Conductor and violist Xandi van Dijk leads Phion in a program that will make the Grote Zaal of Muziekcentrum Enschede shine: from Pärt’s meditative Fratres to Grieg, Anna Clyne, and Svante Henryson. He speaks about working with outstanding soloists, the hall’s acoustics, and what the Stiftfestival means to him.
What excites you most about the Stiftfestival this summer?
“First and foremost, working with the wonderful Phion orchestra. I’ve been looking forward to this for a long time. They are a truly great group of musicians who play with enormous expressivity and commitment. On top of that, the chance to collaborate with such a variety of soloists in a context that combines chamber music and symphonic playing is very special. As a chamber musician, supporting and listening come naturally — and as a conductor that feels like an extension of what I love to do.”
The program moves from Pärt’s meditative Fratres through Grieg and Anna Clyne to Svante Henryson. How do you see that journey?
“What fascinates me is how different and yet how complementary these works are. Each opens a distinct world of emotions. There’s a Nordic sensitivity in Grieg and Pärt, a rhythmic drive in Henryson, and a delicate intensity in Anna Clyne. Together they form a rich palette that fits surprisingly well.”
You’ll be working with four very different soloists. What makes that so special?
“Maja Bogdanović plays Clyne’s Dance with such expressivity that it feels as if it could have been written for her. Marianna Shirinyan is an ideal interpreter of Grieg — deeply knowledgeable, experienced, and even versed in performing the concerto on historical pianos. Svante Henryson, of course, performs his own concerto in a musical language entirely his own. It’s a privilege to bring these artists together with Phion.”
How do you experience the Grote Zaal of Muziekcentrum Enschede?
“It’s a beautiful hall with an acoustic that makes the orchestra sound magnificent. Without an audience it can sometimes be a challenge to hear each other clearly, but once the hall is filled everything falls into place. The orchestra’s sound is deeply shaped by playing here — it’s part of their identity.”
How does Stift compare with other festivals?
“The last time I was here was in 2008, and I’ve watched it grow ever since. Today it almost feels like one of the major European festivals, with orchestral concerts, chamber music, and a variety of venues. Yet it has retained its unique atmosphere of closeness and connection. It combines international scope with strong local roots.”
This year’s theme is Northern Light. How does that connect with this program?
“You hear it most clearly in the string sound. Fratres is iconic and has helped define what audiences associate with Baltic spirituality. Grieg couldn’t be more Nordic in his use of folk idioms. And Henryson brings a northern energy into his jazz. The program resonates beautifully with the theme.”
You are both a violist and a conductor. How does that dual background shape your approach?
“Festivals like Stift give me the opportunity to combine both worlds. Just as in Stellenbosch (South Africa) and Pärnu (Estonia), I can do everything I love here: play, conduct, collaborate. Since I also have Dutch roots, Stift feels a little like coming home.”
What do Dutch festivals contribute to the wider European landscape?
“From what I’ve experienced, festivals like Stift make a huge impact: bringing world-class artists into the region, engaging with the local community, giving young musicians opportunities to grow. That interplay of excellence and involvement is quite unique.”
What do you hope audiences will take away from this concert?
“A sense of reflection, of joy, of release — and of delight in the artistry of the soloists and the wonderful orchestra we’ll be performing with.”
