Denis ApIvor Vidéos
compositeur britannique
Commémorations 2024 (Décès: Denis ApIvor)
- opéra, musique sérielle
- Royaume-Uni, Royaume-Uni de Grande-Bretagne et d'Irlande
- compositeur ou compositrice, anesthésie-réanimation
Dernière mise à jour
2024-05-10
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Dieren Philip Heseltine Busoni Schoenberg Epstein Sorabji Donizetti Alkan Meyerbeer Denis Apivor Spenser Basset Busch Moeran Stevenson 1879 1887 1908 1909 1910 1911 1912 1920 1928 1935 1936 1964
Bernard van Dieren +••.••(...)) String Quartet No. 6 (1928) 1. Energico - 00:00 2. Cantabile - 09:52 3. Furioso - 16:44 Utrecht String Quartet dedicated to Philip Heseltine Bernard van Dieren was a Dutch composer, active in England. Though his father's family was Dutch with Leiden connections going back to at least the 17th century, his mother's ancestry was French, and it was this influence that dominated his childhood. He learnt the violin as a child, and despite showing an interest in science in his teens, he took up music when he left school in 1908. His friendship with Frida Kindler +••.••(...)), also from Rotterdam and a Busoni piano pupil, was crucial. He followed her to England in 1909 and they married on 1 January 1910 in London, where he wrote a quick succession of large-scale works culminating in the Toccata for piano and the String Quartet no.1 of 1912. While visiting Berlin as a music correspondent in 1911 and 1912, he became friendly with Busoni and Schoenberg who encouraged his creative work, though he remained self-taught. In 1912 there were the first signs of the kidney complaint that was to plague the remainder of van Dieren's life, composition being curtailed for long spells. During World War I he remained in London and became the central figure in a group of artistic friends, including the sculptor Jacob Epstein, on whom he later wrote a book (Epstein, London, 1920), the painter Matthew Smith, the Sitwell brothers, Warlock, Cecil Gray and later Sorabji, Lambert and Walton. His astounding intellectual gifts and wide-ranging interests, together with his stoic endurance of pain revealed a personality of irresistible fascination. His devotion to Mediterranean culture and his witty questioning of accepted judgments appealed greatly to the group. He was, for example, one of the first to encourage a re-assessment of the work of Donizetti, Alkan and Meyerbeer. His book of essays Down Among the Dead Men (London, 1935) cleverly displays many of these enthusiasms. During the 1920s and 30s, thanks to the efforts of these friends, some of his music was performed and published, but it never received more than grudging admiration from the public. Consequently, on the early deaths of van Dieren and many of his circle, his music slipped into obscurity. However, a revival of interest began in the 1970s when Denis ApIvor produced and distributed a performing edition consisting mainly of hitherto unpublished scores. In the Netherlands too, performances were encouraged and manuscripts collected by Willem Noske (and later passed on to Musica Neerlandica). Prominent in van Dieren's music is a complex, lyrical counterpoint and an abundance of chamber music textures. His harmonic language varies from Schoenbergian atonality / for example in the Toccata and First String Quartet / to melting Delian chords; especially noteworthy are the exquisite cadences. Thematic material is always economically employed, while, as Gray pointed out, each work demonstrates 'an entirely separate line of thought'. At the core of his output are the six string quartets which exhibit all these features. If the later ones, and his later music in general, show a lessening in complexity, there is no accompanying concession to the popular. Apart from the quartets and the collection of over 60 songs, little of Van Dieren's other music falls into familiar categories. He also shows a penchant for unusual instrumental combinations, as in his setting of Spenser's Sonetto vii, in which the tenor is accompanied by an ensemble that includes a basset-horn and a string group of two violins, two violas and double bass. In the Fourth String Quartet he substitutes a double bass for the cello; his interest in the double bass was related to the playing of Eugene Cruft, one of a number of first-rate instrumentalists whose skill inspired van Dieren in his later music. Though some of his friends overstated his achievement (e.g. Gray's 'Van Dieren: the Modern Leonardo'), the more recent accusation of his having a baleful and indeed fatal effect on some is equally unjustified. His music may not have been of a uniformly high quality, but works such as the First String Quartet, the Chinese Symphony, and his settings of Spenser and Villon undoubtedly display an individual voice that formed an important and enriching link between the continental avant garde and British culture. His influence may be detected in particular in the music of his pupils Warlock and William Busch, of his friends Moeran and Lambert, and indeed of later composers as disparate as ApIvor and Stevenson.
Dieren Denis Apivor Shelley 1921
BREAKING NEWS!!! A BRAND NEW two-CD set of van Dieren's COMPLETE piano music is being released commercially on September 1, 2022!!! All of the works are performed by the brilliant Scottish pianist, Christopher Guild, who has already released the complete piano works of Ronald Stevenson and others to high acclaim. Pre-order your copy today at (http•••) Arranged by Denis ApIvor. Performed by Ludmilla Andrew, soprano, and the Emperor String Quartet. From a deleted BML CD. Songs are as follows: 00:00 Song from "The Cenci" (Shelley) 06:04 Rhapsodia (De Quincey)
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- chronologie: Compositeurs (Europe).
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