Ton Koopman
Classical
The next Ton Koopman concert is scheduled for Thursday, May 14, 2026 at Hessischer Rundfunk in Frankfurt, Germany. See all 2 upcoming concerts
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About Ton Koopman
Hometown
Netherlands
Born
1944
Genre
Classical
Noted for his flamboyant ornamentation, fondness for lively tempi, and cultivation of well-aerated musical textures, Ton Koopman is an instantly recognizable voice among followers of historically informed performance practice. Born in Zwolle in 1944, he numbered the influential harpsichordist Gustav Leonhardt among his teachers, and in his mid-twenties founded the Amsterdam Baroque Orchestra to complement a career as prize-winning organist and harpsichordist.
In 1992 he enlarged the orchestra’s scope by forming a choir and, although he once regarded Mozart’s Requiem (1791) as the furthest he wished to stray from the Baroque, as a conductor he has been lured towards Mendelsohn, Weber, and even Schumann. J.S. Bach, however, remains at the center of his musical universe. As something of a completist, he found that after recording all Bach’s surviving sacred and secular cantatas, not to mention the large-scale choral works, he turned to the Opera Omnia of Buxtehude, a project surveying the complete works of Bach’s great predecessor across 30 discs.
Although principally associated with period instruments, Koopman is never a musician to play it safe, increasingly finding himself in front of such orchestras as the Berlin Philharmonic and the Chicago and Boston Symphony Orchestras and, closest to home, the Amsterdam Concertgebouw.
In 1992 he enlarged the orchestra’s scope by forming a choir and, although he once regarded Mozart’s Requiem (1791) as the furthest he wished to stray from the Baroque, as a conductor he has been lured towards Mendelsohn, Weber, and even Schumann. J.S. Bach, however, remains at the center of his musical universe. As something of a completist, he found that after recording all Bach’s surviving sacred and secular cantatas, not to mention the large-scale choral works, he turned to the Opera Omnia of Buxtehude, a project surveying the complete works of Bach’s great predecessor across 30 discs.
Although principally associated with period instruments, Koopman is never a musician to play it safe, increasingly finding himself in front of such orchestras as the Berlin Philharmonic and the Chicago and Boston Symphony Orchestras and, closest to home, the Amsterdam Concertgebouw.
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