Dirkjan Horringa studied both musicology and choral and orchestral conducting at the Utrecht University and the Utrecht Conservatoire. He now specializes in leading semi-professional choirs and orchestras, which have a rather high musical level in Holland. This makes the work of leading these ensembles a fascinating combination of musical education and serious music making, which is a challenge to a professional musician.

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His main field of interest is music of the 16th, 17th  and early 18th century, from Ockeghem, Obrecht and Josquin via Monteverdi’s Vespers and Schütz to the world of renaissance and baroque music theatre and oratorio.

Dirkjan Horringa works with several vocal ensembles and orchestras all over the Netherlands and the La Pellegrina ProjectOrkest, is a guest conductor to the Czech vocal ensemble Vaganti, the Ukrainian vocal ensemble Musitchnyj Asamblej (Kiev), the Lithuanian vocal ensemble Brevis (Vilnius) and the choir Confido Domino (Minsk, Belarus). He has been a tutor in several summer schools in Italy, Poland and the Czech Republic.

With Cappella ad Fluvium he recorded Johann Theile's Matthäuspassion from 1673. With the Chamber Orchestra Driebergen he recorded a CD with mainly contemporary Dutch symphonic music. With Trajecti Voces and the La Pellegrina ProjectOrkest he recorded a live registration of the Requiem by Dafydd Bullock (*1953). Trajecti Voces released a CD in 2014 with highlights of the last 15 years. The anniversary CD 'Sound the Trumpet' by the Amer Consort features Purcell's 'Hail bright Cecilia' and Bach's Magnificat in E-flat. With Trajecti Voces he recorded Mozart's Requiem and other Freemason music. In 2018 a CD was released with parts from Bach's Christmas Oratorio, with Trajecti Voces and the Amer Consort in collaboration with four leading soloists and the Baroque Orchestra Eik & Linde.

He is privately active as a singing tutor and vocal coach and teaches conducting. His fields of interest are thus not restricted only to choral music, but also to the world of music theatre, especially renaissance and baroque music theatre.

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