Sanne Mestrom,saxophonist with the Johann Strauss Orchestra, and about joy and music.

Where music sounds, you are at home

Adams A-magazine.Sep 2021-Especially during the iconic Boléro by Maurice Raveland the famous "Second Waltz" by Dmitri Shostakovich, Sanne Mestromhas to work with her saxophone in the Johann Strauss Orchestra of André Rieu.Although she is mainly of service to the collective and flamboyant orchestraleader, the modest saxophonist still enjoys the spotlight that is occasionallyfocused on her. The fun we have on stage is authentic. We enjoy the music andthe enthusiastic audience that flocks from all corners of the world to experienceAndré's show. Because that is what it is every time, for us, for André and forthe public,: a unique experience.

A conversation with a passionate musician who as achild was already captivated by the magic of André Rieu and his orchestra. Ifound the combination of music with visual aspects (including the dazzlingdresses) irresistible. Now I've been apart of it for years. Music is pure joy. You see that, you hear and it and youfeel it."

AROUND THE WORLD

Sanne Mestrom (1984) would have preferred it to bedifferently. Then this year shewas once again crisscrossing around the world to convey the universal messageof the language of the heart, evening after evening in André Rieu's orchestra. Coronathrew, like so often, a wrench in the works. Neverthe less, during the meeting at C-Minein Genk, Sanne shows herself in a good mood and optimistic about the future. Weare definitely going to pick up the thread again. Everyoneis eager to go wild. Imyself by nature am quite impatient andquickly bored. That's why I tooksinging lessons. In that sense I haveused the time well to take my interest in singing again a bit more seriously. Thereis no point in sitting back and down. Wheneverit is possible, all of us are ready togo wild.

MORE MUSIC

Sanne Mestrom has known that since she joined theJohann Strauss Orchestra in 2005, that music touches hearts and is boundless.Her proverbial playing field stretches from Shanghai to Buenos Aires and fromMestreech to Oklahoma. André Rieu has grown into a wear-resistant global brand.Seeing merry people is the most beautiful thing there is. From the stage weare confronted with a large, cheerful crowd night after night. A greater energyboost is unthinkable. What could be more beautiful than seeing people havingthe time of their lives, being touched by heartwarming music? That never getsboring. In fact, you would wish the world's population much more music in theirhearts. There is no shortage of superlatives. André Rieu was not placed in thecradle in Maastricht for small potatoes. His career revolves around the grandgesture. Creatively, there is never alack of ideas. As a child, Sanne Mestrom was already mesmerized by thefairytale atmosphere which surroundedAndré Rieu and his orchestra's concerts. At home in Maasbracht-Beek with myparents and two year younger brother, I dreamed away in front of the TV, when Isaw André with his orchestra. I absolutely loved seeing contrabass player JeanSassen the orchestra. I already knew himas the conductor of my marching band, who from my birth on has taken a centralplace in my life. I dreamed that one day I would be standing there too.

FATHER'S BRASSLESSONS

The first sound Sanne heard must have come from thebrass sounds of her father's students. My father is a passionate musician. Hewas a brass teacher in the evenings. During the day he worked as an HR manager.My mother worked in the X-ray department of the hospital. The sound of thetrumpet attracted me. And like any curious child I tried to play that trumpet.When I was five I took piano lessons with Gaby Devies. That went moreplayful-wise. At home we also had a piano, so I played on it. I also playedviolin for a while. People who love music also love each other. But my love forwind music really ignited when I came in contact with the sound of thesaxophone. The saxophone section of my marching band consisted of the bestsaxophonists in the Netherlands: among others like Marlaine van Lier,Jean-Pierre Cnoops and my uncle Frank Meuwissen. Those people allprofessionals put me on the track of the saxophone. I am eternally gratefulto them for that. Fortunately I could not escape their great sound andinfluence.. It was a luxury to have these people near me. Frank Meuwissen gaveme my first lesson. He plays in the Glenn Miller Orchestra and occasionallywith Rieu when multiple saxophones are needed. Nothing is more valuable thanlearning from the best."

BAND, AUDITION ANDBOLERO

It is extraordinary that a village in CentralLimburg, in this case Maasbracht-Beek, has so much musical talent, Sannecontinues. But it's also not for nothing that wind music, thanks to all thosebrass bands and marching bands is so good internationally. Our marching bandhas become champion no less than three times in the concert department at theWorld Music Competition. I still play in the marching band, when I'm in thearea of course. That bond is very strong. Although the music was a factor ofgreat significance, Sanne was not quite sure what the future had in store forher during her stay at VWO in Echt. "I honestly had little real interests.I've always loved making music, but I didn't take into account that I wouldreally make this my profession. I went to the Conservatory in Maastricht. ThereI combined saxophone with Norbert Nozy and Arno Bornkamp and piano with TonieEhlen. I did not taste much of the wild student life.. I was always working andstudying. Already in my second year of study I ended up with André in. JeanSassen, the double bass player with André Rieu and conductor of my brass band,called my father to ask if I wanted to audition for André's Vrijthof concerts.Of course I went to Maastricht; the audition was right away the next day sothere was little time to prepare anything. But it turned out well. Andre wasvery nice. But he didn't make it easy for me either. He tested my dynamics.From very soft to rock hard; I had to be able to play it all. Laughing: I wasnot prepared to play the Bolero and that was exactly what he told me to play. Itwent really fast. He thought I should immediately stay for the subsequentrehearsal. I have never left."

JETLAGS AND SCALES

She completed her Conservatory studies between thevarious tours and jetlag. In the meantime she has now crossed the world anumber of times with the orchestra. That never goes on autopilot, theimpressions are too great for that and the magic of the music and the crowd toooverwhelming. It touches me every time to see how big André is abroad.Traveling can be exhausting at times but we always make it a party. FortunatelyI can sleep well en route. We are on the road day and night. It's nice that wealways eat together. That sense of groups community is important. I amespecially grateful to be a part of that musical family. In addition, I havebeen given the opportunity to develop within the orchestra.. For example, onAndré's advice, I also started playing the bassoon. Music offers endlessopportunities to continue learning, to develop yourself. I dare to say that weas an orchestra have become better and better in recent years. She is still inlove with the sound of her soprano saxophone. Andre also has something to dowith the sound of that instrument. He especially likes the classic timbre. I also need that sound for our repertoire aswell. But the instrument is so versatile that it also comes into its own in thepop genre and in jazz. In fact, the sax forms a beautiful bridge between thetraditional wood and copper. To improve my skill I still play almost every day.Yes, scales too.

PATER FAMILIAS

Every member of the orchestra is equally important.It's more than a team, it's family. That mutual bond is essential. In myexperience you can hear and see that we trust each other. That bond has onlygrown stronger in recent years. Of course, not everything is unicorns andclovers. We also have had hard times.Especially when our orchestra member Ruud Merx suddenly passed away.That is an indescribable loss and a pain we still feel. But we also continuedin his spirit and grew further. At timeswhen it is difficult, André is there as a father figure, a Pater familial. Andthis corona time is of course also difficult for us. I think people are cravingto see us back at work again. Music in these difficult times is more importantthan ever. We are ready for it, says Sanne resolutely. I have been livingback in my native village Maasbracht-Beek for a while now. That's nice.Especially if you're on tour so many times. A good home front is of greatimportant to me. Sometimes I teach. Then I receive students at home. It's niceto share knowledge, especially with young people. The survival of musical culture is close to our hearts in theorchestra and André in particular. That's why it's so good that Adams, who I'vebeen visiting since I can't remember when , is helping to get projects off theground that will help children into contact with music.

HOME FRAGRANCE

Sanne's world consists of music, that much is clear. Istill play in the marching band. That'skind of a home fragrance that I experience there. Inthat aspect, the marching band can easily becompared l with the Johann Strauss Orchestra.There too, I experience that same familiar bond. Musicdoes so much for people. Youshould know how many couples I have seen fall in love again over the years duringour concerts. People who lovemusic ultimately love each other too. That is the message we are bringing, wherever we are in the world. Wheremusic sounds, you are at home.

AMagazine van Adams Music Center:Author: Ludo Diels:Photos: Hugo Thomassen:Styling/hair/make-up: AgAtelier

Thanks to Ineke for the articleand her and John'scombined translation