His relationship with music started at an early age. Music, particularly classical and jazz , was always present in his family home, and although there were no other musicians in his family, their love for music in all its forms contributed to Wim becoming a musician. At the age of 10 Wim started piano lessons; and he completed his first composition at 17.

 

The composer Robert Heppener was present at Wim’s entrance examination at the Music Conservatory in Amsterdam, and was captivated by Wim’s work, little knowing that he would himself later play a vital role in Wim’s life.

After, however, failing to secure a place at the Amsterdam Conservatory, where the board strongly advised him to abandon a future in composition, due to the difficulty of making any kind of a living from it, Wim was accepted instead to study Voice and Choir Conducting at the conservatory in Alkmaar, Holland.

On completion of his studies there, Wim went on to  Maastricht to continue his studies in composition. While in the Maastricht Conservatory he renewed his acquaintance with Robert Heppener; this fateful meeting marked the real beginning of his composing career.

 

Like many other composers at the early stages of their careers, Wim emerged from college and found himself seeking employment in the area of his initial training; as a singer and a Chorus Conductor working for, amongst others, the Flemish Radio Choir and the Flemish Opera. 

 

From 2000 on working as a full-time composer led to an explosion of musical compositions which received national and international recognition.

This was followed by the production in 2006 of 4 CD’s of Orchestral and Chamber music, performed by some of today’s foremost musicians.  The organisation The Dutch Record Company were so impressed on hearing the compositions, that they immediately undertook to produce these CD’s.

Later a cd with the 24 Preludes for piano, played by the pianist Paul Komen, followed.

 

It is not only experienced concertgoers who respond to Wim’s music, but also the younger generation of  listeners, who experience the intensity, passion and melody it encapsulates. The accessible music language pierces straight to the soul of the listener; “the first condition” as Zwaag says himself :

 

“ Music must strike directly to the soul of the listener through its emotion and passion. If this doesn’t occur, the piece should not have been written, or performed. This goes for my own compositions as well as any others, and it is the touchstone of my composing. If my composition fails to reach this mark, its destination is the waste-bin!

I am always searching for the most appropriate instrumentation for a particular composition; and striving for a rich, full, broad and warm tone in my chamber music as well as my orchestral works. My feelings, combined with my technical skills, are for me the two most important components of my compositions.”

 

Since 2000 Zwaag has a growing circle of international renown musicians around him to play and promote his works.  Among them are: