Alphons Diepenbrock Vidéos
compositeur
- musique classique
- Royaume des Pays-Bas
- compositeur ou compositrice, écrivain ou écrivaine, érudit classique
Dernière mise à jour
2024-04-28
Actualiser
Pieter Wispelwey Ed Spanjaard Alphons Diepenbrock Henriëtte Bosmans Jules Massenet Horen Een 1400 2020
Opname van de Cello Biënnale 2020 Datum: 25 oktober, 14:00 uur. Pieter Wispelwey, cello Maya Fridman, cello Rosanne van Sandwijk, mezzosopraan Score Collective Ed Spanjaard, piano en dirigent Alphons Diepenbrock - Berceuse [Wispelwey] Henriette Bosmans - Nuit Calme Jules Massenet - On dit! & Elegie Jan-Peter de Graaff - Rimpelingen [Fridman] Meriç Artaç - Falaz voor cello en ensemble [Wispelwey]* * Wereldpremière. Dit werk kwam tot stand in opdracht van de Cello Biënnale Amsterdam en het Conservatorium van Amsterdam en werd mogelijk gemaakt door het Fonds Podiumkunsten. Henriëtte Bosmans’ Nuit Calme en Alphons Diepenbrocks Berceuse behoren tot de fraaiste Nederlandse werken voor cello uit de eerste helft van de vorige eeuw. Jules Massenet arrangeerde zijn eigen orkestliederen voor cello, zang en piano. Het is geliefde muziek van Pieter Wispelwey, zangeres Rosanne van Sandwijk en pianist(!) Ed Spanjaard. We horen een andere Pieter Wispelwey in het nieuwe celloconcert dat de jonge Turks-Nederlandse componiste Meriç Artaç voor hem schreef. Maya Fridman laat in het celloconcert Rimpelingen horen waarom ze een fan is van componist en generatiegenoot Jan-Peter de Graaff, die inmiddels ook zijn tweede celloconcert aan haar opdroeg. Abonneer op dit kanaal: (http•••) / Ontdek meer van NPO Radio 4 op onze website, socials en app! ► Website: (http•••) ► Instagram: (http•••) ► Facebook: (http•••) ► App iOS: (http•••) ► (http•••) / Afspeellijsten: ► Hollandse Helden: (http•••) ► De Klassieken: (http•••) ► De Hart en Ziel Lijst: (http•••) ► Ontspanning: (http•••) ► Mooie animaties: (http•••) #NPORadio4 #Radio4 #Klassiek #zomooiisklassiek
Alphons Diepenbrock Neeme Järvi 1921
In 1921 Alphons Diepenbrock composed stage music for a performance of Sophocles' 'Elektra'. From this score Diepenbrock biographer Eduard Reeser compiled a suite for the concert hall. The clip contains the first and last movements of this suite played by the Philharmonic Orchestra of The Hague conducted by Neeme Järvi.
Alphons Diepenbrock Emmy Verhey Hans Vonk Zimmermann Palestrina Sweelinck Wagner Willem Mengelberg Mahler Debussy Bron Residentie Orkest Concertgebouw Orchestra 1862 1880 1882 1888 1890 1895 1896 1897 1898 1900 1903 1905 1906 1909 1921
Alphons Diepenbrock +••.••(...)) Hymne : voor viool en orkest (1898 / orch. 1905) Emmy Verhey, violin Orchestra: Residentie Orkest Conductor: Hans Vonk dedicated to Louis Zimmermann Alphons Diepenbrock grew up in a bourgeois Catholic family which had a fervent interest in literature and music. Music lessons formed a natural part of his upbringing, and as a child Diepenbrock was already a skilled player of the piano, organ and violin. His early ambition was to become a conductor and composer. However, his parents were wary of an uncertain future, and in 1880 he therefore opted to study classical languages, his other great passion, at the University of Amsterdam. In the meantime he acquired an understanding of the theory of music on his own initiative, and with a small choir of students performed works by Palestrina and Sweelinck, his favourite masters of polyphony. He added to his knowledge by making an intensive study of Wagner from piano reductions. During this period he also composed an Academische feestmarsch for wind orchestra (1882), various choral works and songs. After he was awarded his doctorate with distinction (1888) for a thesis on Seneca, he became a teacher of classics at the gymnasium in 's-Hertogenbosch. While there, he wrote a number of spiritual pieces for voice and organ, and the Missa in die festo for tenor solo, double male choir and organ +••.••(...)), a monumental work which represents a milestone in the history of Catholic church music in the Netherlands. Diepenbrock married in 1895 and returned to Amsterdam, where he supported himself by giving private tuition in Latin and Greek and by writing articles on music, painting, literature, philology, cultural history and politics. These inspired essays bear witness to wide reading and great erudition (he was one of the first people in the Netherlands to have an in-depth knowledge of Nietzsche); they also show Diepenbrock's substantial literary talent. With his writings, he pitched himself into the midst of the debate on the direction in which art should follow in the coming century. He was filled with ideals, widely cherished at the time, of community life centred around a mystical religiosity, in which the arts would together provoke higher thoughts in the people. Such a work to bear these ideals out was the Missa, published in 1896 with accompanying multi-coloured vignettes, following a medieval example, by Antoon Der Kinderen, who shared Diepenbrock's aims. However, though the publication focussed attention on the composer, the piece was not heard until 20 years later. Instead, a major breakthrough came with the first performance, by Willem Mengelberg and the Amsterdam Concertgebouw Orchestra in 1900, of the two Hymnen an die Nacht for voice and orchestra. Following the première two years later of the grandiose Te Deum (1897), Diepenbrock came to be recognized as the leading Dutch composer of his time. His work was highly regarded by Mahler, who became friends with him during his first period as a guest conductor in Amsterdam (1903). This admiration was mutual: when the Concertgebouw Orchestra invited Diepenbrock to conduct a few concerts of his own compositions, he also took the opportunity to perform Mahler and Debussy, in his view the most significant innovators among his contemporaries. In addition to many instrumentations of songs and revisions of earlier works, with regard to the clarification of orchestral sonorities, the years after 1905 brought forth a constant stream of new compositions, such as the impressive Im grossen Schweigen for baritone and orchestra (1906) based on an aphorism of Nietzsche, and the marvellous incidental music for the 'mythical comedy' Marsyas of De betooverde bron ('Marsyas or The Enchanted Well, 1909--10), which is rooted in a classical Greek legend. However, with the outbreak of World War I, Diepenbrock became so preoccupied that he did not feel able to begin a major work during its course. His commitment to the Allies (he was active in the Ligue des Pays Neutres) is expressed in a number of anti-German articles and songs such as Les poilus de l'Argonne and Belges, debout!. During the last few years of his life he composed incidental music to plays which mattered greatly to him: Aristophanes' The Birds, Goethe's Faust and Sophocles' Electra.
Alphonsus Johannes Maria Diepenbrock Palestrina Richard Wagner 1862 1882 1890 1894 1913 1916 1921 1996
- Composer: Alphonsus Johannes Maria Diepenbrock (2 september 1862 / 5 april 1921) - Performers: Missa-Mannen-koor (choir), Bernard Bartelink (organ) - Conductor: Marc Versteeg - Soloist: Robbert Overpelt (tenor) - Year of recording: 1996 "Missa in die Festo" for tenor, double male choir and organ, written in 1890-1894. 00:00 - I. Kyrie 05:56 - II. Gloria 18:39 - III. Credo 33:45 - IV. Sanctus 40:50 - V. Benedictus 47:11 - VI. Agnus Dei {original version} The Dutch composer Diepenbrock consciously rebelled against the style of mass he had heard in his youth. During a festival in Münster (Germany) in 1882 at the age of 20, he encountered church music in which the instructions of the Cäcilienverein were applied, the movement from Regensburg which targeted a revival of liturgical music based on the Palestrina style of composing. Initially a supporter of this, he wanted to go further and integrate modern musical resources in church music, especially the innovative harmonies of Richard Wagner. However, by applying heavy chromaticism and shifting tonalities, Diepenbrock unwittingly deprived himself the possibility of an early performance. Not only was the piece technically very difficult to perform, also the strict religious rules about what was considered acceptable in the liturgy was a stumbling block: The Church was afraid of the sensual feelings that a Wagnerian influence could evoke in the pious church visitors. Every time when there was a possibility of a performance, it was ricocheted, even by experienced choral conductors of the time. This made Diepenbrock sigh in despair: "It will be a sad pleasure if I, perhaps in my old age, may hear this jubilant music which I've made under so much pressure." Finally in 1913, Diepenbrock succumbed after the insistence of a good friend to make a version for mixed choir and orchestra, even though he actually called a mass for the concert hall "an absurdity." He stopped working on it after the instrumentation of the 'Gloria' however, because there was no prospect of a performance. Diepenbrock did manage eventually, after a compulsory replacement of the last "Amen" with "Dona Nobis Pacem" (the Dutch Church behaved at the time as if The Netherlands were still living in the Middle Ages), to interest the ambitious young conductor Johan Winnubst for the work. This took a great deal of work and commitment, as shown by the abundant letters with instructions that Diepenbrock sent to him. Thus, the work had its premiere in the St. Catherina Church in Utrecht on Sunday 2 October 1916, the work made a big impression on the public and the gathered press. It had a few performances throughout the country afterwards, but was soon little performed. It is only relatively recently that there are live performances of this wonderful piece again, and recordings of the work like the one in this video. Make sure to turn up the volume of your subwoofer (if you have one), to enjoy those low organ notes!
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