She was six when she first held a violin. Nine when she became concertmaster of the Symfonia Junior orchestra. Now she plays her heart out in the CineMusic Film orchestra, among others. We are delighted to introduce you to Niki de Vlaming.
What is your role at CineMusic?
“I am the principal second violin. That means I lead the second violin section. You give the cues and ensure that everyone is truly playing together to create a beautiful harmony. I also stay in touch with the other principals and certainly with the concertmaster, Hester van der Vlugt. We make sure the music is guided in the right direction. We also coordinate bowings and see if everything fits together.”
That sounds complicated: playing and leading at the same time. How is that for you?
“It is an extra task. It’s not for everyone, but I really enjoy doing it. You need to have an overview; while playing your own part, you are also focused on how the rest are playing and how it sounds overall. If something goes wrong in the orchestra, for instance if the tempo starts to drag or rush, I’m the one who steps on the brakes. It’s a big responsibility, but I find it very rewarding.”
How did you get involved with CineMusic?
“I know Hester from a small film project. We played together in the film Alles is Familie (All is Family). That is the sequel to Alles is Liefde (Love is All). We didn’t see each other for years after that. But when Hester was looking for a principal second violin for CineMusic, she thought of me because she knew I played many different styles. During my time at the conservatory, for example, I played in a hip-hop band and also pop bands. So she knew I had an affinity for music other than just classical.”
How old were you when you first held an instrument?
“I started playing the violin when I was six. I remember going to a concert with my father just before that. The soloist played Bruch’s violin concerto and I just thought: wow, I want violin lessons now.”
Do you come from a musical family?
“Yes. My mother is a pianist. My father used to play piano and a bit of violin, and he is a composer. He even wrote a piece for me for my master’s final exam. That is really special. And my grandmother was also a concert pianist.”
What was it like starting the violin so young? It’s quite a difficult instrument.
“It really is. I did have talent, and I had a wonderful violin teacher, Anke Lefferts. But I had many hobbies. I did dance lessons, horse riding, swimming, and high-level table tennis. I was a bit of a social butterfly who enjoyed everything. My violin teacher handled that very well. She gave me freedom and made sure the lessons were fun. She truly had the patience of a saint. My father would sit with me for half an hour every day to practice together, and my mother did the same with my brother, who took guitar lessons.”
When did you realize you were actually good at it?
“At one point, my teacher suggested I join her youth orchestra, Symfonia Junior. I was nine years old then. I did, and I loved it because you’re playing with peers. I became concertmaster there pretty quickly. As a child, you realize: oh wait, I actually have a talent for this. After that, I moved on to the main orchestra, Symfonia Jong Twente, and eventually became concertmaster there as well.”
Did you already know then that you wanted to make this your profession?
“No, when I was sixteen, it was either table tennis or playing the violin. I was really good at table tennis; at one point, I was in the top eight in the Netherlands. Ultimately, I chose music because I found it so special and wanted to keep doing it. But I didn’t know in what form yet. I thought maybe musical theater, because I enjoyed performing in musicals and school plays.”
How did you end up at the Conservatory of Amsterdam then?
“My father knew someone: Thijs Kramer. He was teaching in Rotterdam at the time. He is a remarkable teacher who saw right through me and knew exactly what I needed. He also immediately mentioned the name Lex Korff de Gidts, a teacher at the conservatory in Amsterdam. That was the match, he said. When I played for Lex, we had an instant connection. Later, during my master’s, I chose a teacher myself. I shouldn’t have done that. I moved to Lyon and experienced that a good connection with a teacher isn’t a given. If it’s not there, it can become a really unpleasant experience. Generally, I learned there how I didn’t want to play. It was actually the darkest year of my student days. But knowing what I didn’t want, and therefore what I did need, was also valuable. Fortunately, I was able to finish my studies with Maria Milstein, and that was truly wonderful for me.”
What makes your profession so enjoyable?
“The versatility. I love playing classical music, but also film music. I enjoy playing with a band. I also love teaching. It’s a combination of being in different places and going everywhere. Sometimes it’s not even about the violin playing itself: for example, I might play a simple part or improvise with a DJ, and then it’s often about the overall experience. I really enjoy that. But I must say, I can’t help but give it my all, even if it’s just a small moment or a short melody. People often tell me they can see how much I enjoy the music and how I move with it. I can’t help but put my feelings into it and get everything out of the moment.”
What makes CineMusic special for you?
“I think the music is so cool. Film music is just beautiful and it’s great to play. My part always has a wonderful timbre. I love playing high on the G-string. I often play first violin in other projects, but the second violin part is also interesting. You can add such nice colors and you work closely with the violas and cellos. Plus, being a principal is a very honorable task. And the group is just a lot of fun. I feel very much at home there.”
What is your favorite piece in the show right now?
“We play fantastic pieces. The Hunger Games is one of my favorites. It’s a challenging piece and I love creating that tense atmosphere together. I also have a beautiful solo with Hester when we play Legends of the Fall.”