Kees van Baaren Vídeos
compositor neerlandés
- música clásica
- Reino de los Países Bajos
- compositor, musicólogo, profesor de música, profesor universitario
Última actualización
2024-04-27
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Louis Andriessen Mariss Jansons Hendrik Andriessen Boulez Stravinsky Baaren Berio Guevara Schat Reinbert Leeuw Mengelberg Stockhausen Koninklijk Concertgebouworkest Hoketus Royal Concertgebouw Amsterdam Holland Festival 1939 1957 1962 1963 1965 1966 1968 1969 1972 1973 1976 1977 2013
Louis Andriessen (1939) Mysteriën (Mysteries) : for orchestra (2013) Orchestra: Koninklijk Concertgebouworkest Conductor: Mariss Jansons Commissioned by the Royal Concertgebouw Amsterdam for the Royal Concertgebouw Orchestra on the occasion of the 125th anniversary of both hall and orchestra Louis Andriessen is a Dutch composer, son of Hendrik Andriessen. After a few youthful works influenced by neo-classicism and serialism in the manner of Boulez he moved steadily away from the postwar European avant garde and towards American minimalism, jazz and Stravinsky. Out of these elements he has developed a musical language marked by extremes of ritual and masquerade, of monumentality and intimacy, of formal rigour and intuitive empiricism. The epitome of the Hague School, he is regarded as the most influential Dutch composer of his generation. Andriessen was born the youngest son of a musical family. His father and his elder brother Jurriaan, who passed on to him his musical experiences of Stravinskian neo-classicism and jazz, were his earliest mentors. Between 1957 and 1962 he studied composition at the Royal Conservatory in The Hague with Van Baaren. After receiving the composition prize there, he continued his studies with Berio in Berlin and Milan +••.••(...)). Back in the Netherlands he played an active role in the increasing politicization of the arts put into practice during the Holland Festival in 1969 with the collective work Reconstructie, a music-theatre morality based on the character of Che Guevara; the composers involved were Schat, van Vlijmen, Reinbert de Leeuw and Misha Mengelberg, all former students of Van Baaren. Later the same year Andriessen was involved in the Notenkrakersactie, the disruption of a concert by the Concertgebouw Orchestra, whose artistic policy the protesters regarded as reactionary. This controversial act has since come to be seen as a turning-point in postwar Dutch musical life. For Andriessen it led to a permanent abandonment of the medium of the symphony orchestra. Convinced that musical renewal cannot be separated from the renewal of performance practice, he set up in 1972 De Volharding ('Perseverance') to perform his composition of the same name, and similarly in 1977, Hoketus, the result of a project at the Royal Conservatory; both ensembles have gone on to stimulate extensive new repertories. Andriessen began to teach composition and instrumentation at the Royal Conservatory in 1973, and in the mid-1980s started to be in great demand as a guest lecturer, particularly in the USA. It may be tempting to regard the première of De staat in 1976 as marking the birth of the 'real' Andriessen. A typically European response to the more ethereal American minimalism of the time, it made his name internationally. It is the first work in a line of monumental, for the most part 'didactic' compositions which mark moments of synthesis and re-orientation in his output; it also unveiled Andriessen's characteristic sonorities of brass, keyboards and bass guitars. However, his output from before De staat should not be viewed merely as a preliminary stage, since in it a number of distinctive (albeit short-lived) styles and techniques are discernible, becoming marked increasingly by personal features. At the extremes stand the graphic composition Registers (1963) and the exercise in youthful sentiment Souvenirs d'enfance (1966). In Ittrospezione III (Concept I) serial methods derived from Boulez are uneasily combined with a Cageian conceptualism, though pre-echoes of De staat are occasionally apparent in the work's instrumentation and form. Contra tempus of 1968 reveals Andriessen explicitly turning away from the avant garde's rejection of the past. The montage form, the mixture of static, 'chorale' continuos of sound, traced by the composer to such variable sources as Stockhausen's Momente, Stravinsky and pre-tonality, and the big-band-like instrumentation, all point in another direction. Most of all it is Stravinsky whom Andriessen considered / 'with his hand on my shoulder' / the model; the last chord of the work is the opening one of the Symphony of Psalms. With De volharding (1972), Andriessen moved a step closer to De staat. Composed in response to American minimalism in general and to Riley's In C in particular, the musico-political convictions which have determined Andriessen's development are reflected in the title, with its reference to the ideals of the early 20th-century labour movement
Korte Een Brouwer Putten Zwart Jongen Dijk Warnier Baaren Jong Schram Fuchs
Een korte film van Noen Brouwer. Ik heb deze film gemaakt als toelating voor de Filmacademie. Dank aan iedereen die ook maar iets heeft bijgedragen aan deze film, zonder jullie was het niet gelukt! CAST: Eddie - Niek Roozen Lieve - Maylin van Putten moeder - Ingeborg Wieten vader - Tim de Zwart David - Jasper Stoop meisje op feest - Susan Radder Roos - Annabelle Hinam Raaf - Lars de Weerd jongen op voetbalveld - Cas Steketee voetbal trainer - Robertjan Brouwer leraar - Kees Oudheusden CREW: regie - Noen Brouwer scenario - Noen Brouwer uitvoerend producent - Emily van Dijk productie assistent - Dominique Hoogendoorn productie assistent - Bettie Warnier productie assistent - Julia Lürsen camera - Tein Brouwer focuspuller - Zino Rosmolen grading - Erik van den Heuvel gaffer - Henry Vrijsen licht assistent - Merel Oenema licht assistent - Joep van Diejen geluid - Luc van Baaren geluid - Noah Pepper sounddesign - Theo Warnier muziek - Theo Warnier make-up - Chantal Houbraken editor - Robin de Jong apparatuur - GoldenEye MET DANK AAN: GoldenEye de Grot Schram Studios Kapsalon Willem's Vintage Bikes Wild at Art Tessa Schram Dave Schram Helene Fuchs Robertjan Brouwer alle figuranten alle locatiehouders
Hans Henkemans Bernard Haitink Een Pijper Debussy Beinum Ravel Mozart Groningen Baaren Groot Omroepkoor Concertgebouw Orchestra Salzburg Festival 1079 1142 1913 1932 1933 1938 1940 1945 1950 1954 1955 1958 1965 1967 1968 1969 1977 1981 1995
Hans Henkemans +••.••(...)) Tre aspetti d'amore : per coro misto ed orchestra +••.••(...)) 1. Alba - 00:00 2. Planctus - 08:14 3. Alternus - 13:58 Choir: Groot Omroepkoor Orchestra: Concertgebouw Orchestra Conductor: Bernard Haitink Program note (Dutch): Alba is een gedicht, van onbekende oorsprong, uit de tiende eeuw; het is een allegorisch gestelde aubade (alba = dageraad), "to waken sleeping lovers", zoals de bekende latiniste Helen Waddell zegt. Het refrein is vermoedelijk oud-Provençaals. Het gedicht van Abelard +••.••(...)) is één van zijn 'planctus' (klachten), op oud-testamentische gegevens; het onderhavige behelst de klacht van David bij de dood van Johathan. Het gedicht van Boethius dateert uit het begin van de zesde eeuw; het is afkomstig uit 'De Philosophiae Consolatione' (over de troost van de wijsbegeerte) van deze laat-Platonische wijsgeer. De titel (alternus amor = wederzijdse liefde) ontleende ik aan de voorlaatse regel. - HANS HENKEMANS Hans Henkemans was a Dutch composer and pianist. While still at school he had piano and composition lessons from Sigtenhorst Meyer. Later he studied medicine at Utrecht University, at the same time continuing piano studies with van Renesse and composition with Pijper +••.••(...)). His first recognition as a pianist and composer came during these university years, when he memorized and performed all of Debussy's solo piano music and gave the première of his own Concerto for piano and strings (1932). At the end of World War II his talents were noticed by van Beinum; beginning in December 1945 he played his Passacaglia and Gigue for piano and orchestra over 60 times, at home and on European tours, with the Concertgebouw Orchestra. He went on to become a leading piano soloist of the 1950s and 60s. Though his tastes were catholic, he was known especially for his interpretations of Debussy, Ravel and Mozart, and appeared seven times at the Salzburg Festival. The four concertos which Henkemans wrote in the decade after 1945 displayed not only a soloist's familiarity with instruments but an ability to write music exhibiting both show and substance. The prizewinning Violin Concerto (1950) ensured him a prominent place among Dutch composers. For a time he taught composition and orchestration at the Amsterdam Musieklyceum and Groningen Conservatory, and was also a psychiatric consultant for an Amsterdam hospital. When in 1969 health forced his retirement from concert life (in 1940 he had lost one lung to tuberculosis), he continued composing and set up a psychiatric practice for musical and other artists. In 1981 he was named Doctor in de Medische Wetenschappen ('Doctor of Medicine'). A recurring feature in his instrumental music (Passacaglia and Gigue, Barcarola fantastica, Flute Concerto, Partita for orchestra) is a hybrid use of inherited forms and dance-types, often quite complex. While his earliest compositions, influenced by Pijper, display germ cells, octatonicism and polymetre, only the polymetre persists in his mature work. He developed a varied harmonic palette, based on the late work of Debussy, leading to a sometimes strikingly atonal musical language of his own. (His identity with Debussy is also demonstrated in idiomatic orchestrations of the latter's Préludes for piano.) The Viola Concerto (1954) and Harp Concerto (1955) are distinctive additions to the repertory. The former allots contrasting material to the soloist and orchestra, while in the latter, amid beautiful orchestral colouration reminiscent of Debussy's Ibéria, the harp alternates between bravura display and an accompanying role. The strongly contrapuntal Piano Sonata (1958) is one of the major Dutch keyboard compositions of the 1950s. There is an unmistakable pathos or 'morbid beauty' (van Baaren) in these works, unique for Dutch music of this time, which affirms Henkemans's conviction that a musical composition must reflect its creator's emotional life. With his definitive turn to psychiatry at the end of the 1960s came a heightened interest in vocal music. The cantata Bericht aan de levenden (1965) made him nationally renowned. Based on H.M. van Randwijk's verses from the walls of the war memorial at Bloemendaal, honouring the resistance fighters of World War II, it was played repeatedly during the national memorial day celebrations on 4 May. Texts from the distant past (e.g. in Villonnerie, Tre aspetti d'amore, Canzoni amorose) also inspired stunning settings in a symphonic context. In these years, reflecting his experiences as a psychiatrist, he wrote forcefully against most forms of experimental music, thus enraging the Dutch musical avant garde; yet certain of his own compositions, such as the Tre aspetti d'amore, were among the most advanced Dutch works of their day. His only opera, Winter Cruise (1977), was performed a dozen times by the Nederlandse Opera, but its musical virtues were undermined by a rather uneventful plot.
Willem Pijper Philippe Graffin Vermeulen Johan Wagenaar Hansen Diepenbrock Buys Mahler Gilse Heer Sem Dresden Sanders Bach Karel Mengelberg Mengelberg Lier Bosmans Guillaume Landré Badings Henkemans Baaren Escher Dijk Leeuw Concertgebouw 1894 1911 1915 1917 1918 1919 1920 1921 1922 1923 1925 1926 1927 1930 1938 1940 1945 1946 1947 1966
Willem Pijper +••.••(...)) Sonata No. 1 : violino e pianoforte (1919) 1. Commodo - 00:00 2. Tempo di menuetto tranquillo - 04:54 3. Quasi scherzando - 08:25 Philippe Graffin, violin Jelger Blanken, piano Willem Pijper was, with Vermeulen, the most important composer in the Netherlands in the first half of the 20th century; his teaching and writing also made a significant impact. He grew up in a working-class Calvinist milieu in a village outside Utrecht. Due to recurring bronchitis and asthma, he was educated at home until the age of 14 but then attended Gymnasium in Utrecht. Already studying the organ, he left school in 1911 to enroll in the Utrecht Toonkunst Muziekschool, where he studied composition with Johan Wagenaar and the piano with Helena van Lunteren-Hansen. His final examination, in 1915, was in theory, and he continued composition lessons privately for three more years. The family of his first wife, Annie Werker (they married in 1918), brought him social and musical opportunities in Utrecht, and he came under the influence of two older, Francophile colleagues: Diepenbrock and the critic J.S. Brandts Buys. It was Mengelbergs Concertgebouw première (April 1918) of the Mahler-like First Symphony which brought him national recognition. During 1918-1921 he taught theory at the Amsterdam Muziek lyceum and from 1917 to 1923 he wrote for the Utrechtsch Dagblad. His long, pithy reviews crusaded against complacency and amateurishess; one victim was the conductor Jan van Gilse, who resigned his post with the Utrecht orchestra in 1922 as a result of Pijpers criticisms. This incident created a nationwide furore, and his reputation as a musical essayist was assured. A radical new compositional style, confirmed in 1920 with Heer Halewijn and the Septet, made Pijper leader of the Dutch musical avant garde. He represented the Netherlands at the founding of the ISCM in Salzburg, 1922; soon after, backed by Sem Dresden, he established the Dutch ISCM section. In 1923 he met the playwright Balthazar Verhagen, and new co-productions of Greek dramas resulted, beginning with De bacchanten. Otherwise this was a difficult period. An anticipated critics post in Amsterdam failed, and he was left almost without work. An affair with his student Iet Stants ended unhappily in spring 1925, and in July he attempted suicide. He then separated from his wife and moved to Amsterdam. His prospects improved when, in September of that year, Dresden appointed him head of composition and orchestration at the Amsterdam Conservatory. In 1926 he became co-editor (with Sanders) of De Muziek, an outstanding professional journal which they ran for seven years. In the meantime he began a relationship with the author Emmy van Lokhorst; they married in 1927. Following an earlier, unsuccessful attempt, Pijper in 1930 became head of the Rotterdam Conservatory, a position he held until his death. Pijper joined a masonic lodge in 1938 and simultaneously began to practise astrology. From then and throughout World War II, he was preoccupied with gematris (a kind of numerological thinking in music which dates back to the Netherlandish polyphonists and also to Bach) and other symbolic thought. In May 1940, following the German bombardment of Rotterdam, fire destroyed his house and most of his possessions; yet copies of nearly all his compositions survived in safekeeping. He kept his conservatory alive during wartime, under very meagre conditions, and served briefly on artistic reconstruction panels after liberation in 1945. Falling ill in the summer of 1946, after the London ISCM Festival, he was diagnosed with cancer in November and died four months later. His students, including Karel Mengelberg, Stants, van Lier, van Hemel, Bosmans, Guillaume Landré, Piet Ketting, Badings, Henkemans, van Baaren, Escher, Jan van Dijk and Masséus, were prominent in Dutch musical life throughout the 1960s. For a time younger composers attacked this Pijper group (de Leeuw, 1966), but in the mid-1980s a counter-reaction occurred, and since then there have been numerous performances, and recordings, of the orchestral and chamber works and the operas Halewijn and Merlijn.
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- cronología: Compositores (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): B...