(Bass) clarinetist
Professor for bass clarinet at the Prince Claus Conservatory Groningen (NL)
Artistic director of the Dutch Basklarinet Festijn

I am a recorder player and regularly present concerts and workshops both within Europe and internationally. As a former founding member of the recorder quartet QNG - Quartet New Generation, I am performing now as soloist, in various chamber music formations, as well as in the context of various productions in the realm of fine arts, opera and theatre, among others Saâdane Afif, Ari Benjamin Meyers, andcompany&Co, Constanza Macras/dorkypark, and Opera Lab Berlin. I performed numerous premieres in world class concert houses and festivals, with such groups as Ensemble Adapter, Collegium Novum Zürich, Figura Ensemble, Ictus Ensemble, Neue Vokalsolisten, and Trickster Orchestra. I have been awarded international honours and scholarships in Berlin, Darmstadt, Göttingen, Graz, Illzach, Krakow, New York, and Rotterdam. I am living and teaching in Berlin since 2004 and am holding a teaching position at the Berlin University of the Arts since April 2010. 
I have studied the recorder at the Conservatorium van Amsterdam with P.T. Leenhouts. After graduating with a concert diploma, I earned my master’s degree in 2004 with distinction. I then studied with Prof. G. Lünenbürger at the Berlin University of the Arts, where I earned my concert exam diploma, likewise with distinction. From April 2015 till March 2016, I studied Helder tenor recorder with J. Fischer at the Akademie für Tonkunst in Darmstadt. In October 2019 I completed my artistic-academic research project on “The new potential of a 21st century recorder” at the University of Music and Performing Arts in Graz with distinction.

Ensemble de solistes formé autour de Françoise Kubler (soprano) et Armand Angster (clarinettiste), Accroche Note investit de manière multiple le répertoire des musiques d'hier et d'aujourd'hui. 
Chaque programme décide de la personnalité et du nombre de musiciens qui constituent l'ensemble. La souplesse de son effectif - du solo à l'ensemble de chambre - lui permet d'aborder en différents projets les pages historiques, la littérature instrumentale et vocale du XXème siècle et d'aujourd'hui ainsi que les musiques improvisées. 


I am an Italian composer based in Paris, where I teach electronic music at IRCAM. 

In a constant pursuit of a theatrical dramatization of sound, I am deeply interested in electronic music, music of oral tradition and, for their physical presence and sonic qualities, bass instruments. By delving into the physical connection between the musician and the large instrument, I aim to transport listeners into visually engaging compositions, where micro-rhythms and grooves hold a central role. One of my main concerns is represented by an effort to develop structures based on techniques used for sound synthesis and electronic treatments. More generically it reveals my lifelong compositional aim: that is to attain a consistency between the approach in composing for instruments as well as for electronics, an approach that I attempt to integrate and structure through computer-aided composition tools that I personally develop. 

Raised in the "Pasolinian" working-class neighborhoods in the West side of Rome, and having spent most of my adolescence in direct contact with the street, I have always been drawn to the poetic violence of this reality. The tension between a personal inclination for introspection and a life deeply entrenched in a vibrant, yet challenging, urban environment has been a constant companion, shaping and defining my creative persona. 

In my music, this tension gives rise to a dramaturgy that oscillates between two extreme temporalities, leading to a dynamic interplay between kaleidoscopic movements and introspective explorations. One is tethered to overwhelming, vertiginous, overflowing, and compulsive rhythms, while the other is more intimate, poetic, and intertwined with the expressivity of the spoken word – like in the song cycle Gradual Abruptness (2022), on the verses of the Italian poet Amelia Rosselli (daughter of the anti-fascist partisan Carlo Rosselli).

These axes of research find contrasting artistic declinations, leading to the composition of [S]toccata (2019) and High Voltage Toccata (2021), – where the pianist and organist are challenged in a body duel with the instrument  – of I Sing the Body Electric (2020) – where the double bass becomes one organic body with the musician and with the electronics – in Overdrive (2020), a low-frequency trio, transposed into a distorted and paroxysmic world – or, again, in Lignes à Haute Tension (2023) for 12 spatialised cellos ¬– where the conductor, in the center of a network of instruments, controlling the trajectories of sound in space. 

Ongoing Projects :
On the Edge, for 6 soloists choir and electronics
Texts by Mina Loy
Premiere : SWR Vokalensemble / Donaueschinger Musiktage (Donaueschingen, DE) / 2024

Espaces Blancs, for soprano, clarinet, trumpet, double bass and electronics
Premiere : Commande d'État : Mathilde Barthelemy / Compagnie Angle Aigu / GMEM / Festival Propagations
(Marseille, FR) / 2025

Faro, for soprano, ensemble and electronics
Johanna Vargas / Ensemble Musikfabrik / Festival ManiFeste / IRCAM (Paris, FR) / 2025

For this project I have been selected as one of the 2024-25 Villa Medici Residents

Fie Schouten is following