The Rembrandt Frerichs trio has taken the initiative to play modern music on historic instruments. Inspired by the many collaborations with classical musicians and musicians from the Middle East, Rembrandt was looking for a different piano sound. He found this in the fortepiano, with its lighter and more transparent sound, and saw his dream come true when the National Instrument Fund decided to have one such instrument built for Rembrandt specifically.

This started a fascinating journey of discovery into this instrument that is both old and new, both alien and strangely familiar.

The Rembrandt Frerichs trio is often prominently featured on festivals for creative jazz but they have always been connected to classical music. Now these influences are brought together: with ‘the Contemporary Fortepiano’ the trio takes these historic instruments, style elements and concert venues out of their original context and gives them new meaning. As they improvise with classical music, the trio regularly challenges great classical musicians to join them in their journey far away from the comfort zone.

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Rembrandt on his 1790 Walter fortepiano, a copy by Chris Maene

Others about Rembrandt and the contemporary fortepiano:

“Rembrandt is succeeding in using the instrument in a new and remarkable way . I find the result very interesting but also very attractive. The direction he is taking with the instrument draws an audience. Rembrandt features the fortepiano in a way that until now was not heard, a way that is not called for or even possible in the classical repertoire”
Bart van Oort. (Forte)Pianist

“Rembrandt Frerichs has played at the North Sea Jazz Festival several times. His music makes clear how he mixes the intriguing classical music from the Middle East with modern jazz. The way that Rembrandt always looks for ways to extend his musical idiom, pushing boundaries along the way, makes him an extraordinary musician."
Michelle Kuypers North Sea Jazz Festival / Mojo Concerts

“Always looking for possibilities to extend his musical domain, Rembrandt never hesitates to push the boundaries. Not only did he use early music as a source of inspiration, he also had countless conversations with musicians, staged ground-breaking projects, and surprised many audiences. He literally took up the fortepiano and integrated it into the family of jazz instruments. Having passed the experimentation-phase a long time ago, one can now see a development that, seemingly without limits, can become of great value.
Jos van Veldhoven artistic director De Nederlandse Bachvereniging

Violinist Liza Ferschtman about the contemporary fortepiano: