Henri François Robert Brandts Buys Vidéos
chef ou cheffe d'orchestre, compositeur ou compositrice
Commémorations 2025 (Décès: Henri François Robert Brandts Buys)
- Royaume des Pays-Bas
Dernière mise à jour
2024-05-16
Actualiser
Jan Ingenhoven Brandts Buys Mottl 1876 1909 1912 1913 1916 1917 1918 1920 1930 1951
Jan Ingenhoven +••.••(...)) Sonate : voor A-klarinet en piano +••.••(...)) Frans van Ruth, piano Frank van den Brink, clarinet Jan Ingenhoven was a Dutch composer and conductor. He studied with Brandts Buys in Rotterdam and later with Mottl in Munich, where he conducted the Munich Madrigal Society from 1909 to 1912. This was a famous ensemble of soloists which made many concert tours under his direction. By conducting the Munich Orchestra Association and organizing music festivals he introduced a great deal of contemporary Dutch and French music into Germany. In 1913 Ingenhoven retired as a performing artist to devote himself primarily to composition. During World War I he resided in Switzerland and Paris. After 1930 he retired as a composer and returned to the Netherlands. Ingenhoven's preferred genres changed over time. During his first period in Munich he wrote orchestral works alongside pieces for chorus, vocal quartet and solo voice; before World War I he devoted himself to string quartets and from then until 1918 he composed chamber music for various trio combinations. In the years around 1920 he wrote the sonatas for violin and for cello and the final period was taken up with works for solo instruments within small ensembles. Ingenhoven inherited certain stylistic elements from 16th-century music. His early works were always conceived polyphonically. Paired duets, imitation and polyrhythm are outstanding characteristics, especially in the vocal works from the Munich period. His song 'Nous n'irons plus au bois' (1909) from the 4 quatuors à voix mixtes, which Ingenhoven claimed to be the first atonal vocal work by a Dutch composer, is a brilliant example of this style. In the chamber works Ingenhoven's style became even more exclusive through a combination of the polyphonic elements and a new homophonic approach, with tonally indefinite chords, subtle dynamics and delicate timbre. He devised cantilena-like melodies, quasi-improvised as if he wanted to create Jugendstil in music. Although he used cellular motivic technique, the structure of his works always tends towards symmetry.
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.
Willem Pijper Schoenberg Johan Wagenaar Vermeulen 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 1914 1915 1917 1918 1920 1921 1922 1923 1925 1926 1927 1930 1938 1940 1945 1946 1947 1966
Willem Pijper +••.••(...)) Kwartet Nr. 1 : voor strijkkwartet (1914) 1. Allegro moderato - 00:00 2. Scherzo (comodo) - 04:59 3. Largo - 09:25 4. Poco agitato - 18:20 Schoenberg Quartet dedicated to Johan Wagenaar 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.
ou
- chronologie: Compositeurs (Europe). Chefs d’orchestre (Europe).
- Index (par ordre alphabétique): B...