Jan Joris Vidéos
artiste lyrique, chef ou cheffe d'orchestre
- baryton
- Belgique
Dernière mise à jour
2024-04-28
Actualiser
Kristiina Poska Nicolò Foron 2021
Master and apprentice, side by side! During this second edition of the SOV Conducting Masterclass Nicolò Foron, Rira Kim and Joris Decolvenaer meet at Muziekcentrum De Bijloke Ghent to work with Flanders Symphony Orchestra under the direction of chief conductor Kristiina Poska. / More information about this project for young conductors: www.symfonieorkest.be/conductingmasterclass / Follow us: website | www.symfonieorkest.be Facebook | @symfonieorkest Instagram | @symfonieorkestvlaanderen
Sem Sem Dresden Zweers Pfitzner Stern Pijper Smit Beinum Otterloo Groot Bizet Concertgebouw Holland Festival 1236 1881 1903 1914 1918 1919 1922 1924 1926 1927 1928 1937 1940 1942 1949 1957 1958
Sem Dresden +••.••(...)) Sonate Nr. 2 voor cello en piano (1942) 1. Allegro molto - 00:00 2. Allegro agitato - 06:42 3. Poco lento - 12:36 Doris Hochscheid, cello Frans van Ruth, piano The CD and more information on Dutch Cello Sonatas are available at: www.cellosonate.nl Sem Dresden was a Dutch composer and teacher. The scion of a diamond-broking family, his father tried to suppress his musical interests; nevertheless he managed to study with Roeske and Zweers in Amsterdam. On the strength of a promising student piano piece, he was sent in 1903 to study composition and conducting under Pfitzner at the Stern Conservatory in Berlin. Pfitzner unexpectedly steered his compositional interests towards French Impressionism; he also encouraged Dresden to remain in Germany as an opera conductor. After two years, however, he returned to the Netherlands. There, aided by his wife Jacoba, a noted alto, he began a career as choral conductor; he also continued to compose. From 1914 to 1926 he directed the nine-member Madrigal Society, which earned international repute for its painstaking performances of Renaissance and contemporary choral music; it was succeeded, from 1928 to 1940, by a larger chamber choir in Haarlem. In 1919 he had been appointed head of composition at the Amsterdam Conservatory and was its director from 1924 to 1937. With Pijper in 1922 he established the Dutch ISCM chapter. His erudite articles in De Amsterdammer and De Telegraaf +••.••(...)) were a progressive influence in Dutch musical life. Dresden was named director of the Royal Conservatory in The Hague in 1937 but served only three years before being dismissed, due to his Jewish ancestry, by German Occupation functionaries. He spent most of the war interned on an estate in Wassenaar; despite dangerous conditions he composed assiduously through these years. He resumed his post in The Hague after liberation, remaining until his retirement in 1949. Many noted Dutch musicians were his students, including Monnikendam, Godron, Smit, van Beinum, Felderhof, van Otterloo, Mul and Cor de Groot. Throughout his career Dresden served on numerous boards and committees, especially in choral education and music for youth. Such administrative functions together with composing occupied him after retirement. In his final hours, confirming the religious tendencies in his later works, he became a convert to Roman Catholicism. The compositions written shortly after his return from Berlin show largely French influences, as in the four suites for wind and piano composed for the Amsterdam Concertgebouw Sextet. The impressionistic Sonata for Flute and Harp (1918), which emphasizes contrasting instrumental timbres, was acclaimed in both France and Holland. Dresden's later music is essentially tonal, but with modal twists and frequent added-note chords. An elastic use of metre may reflect his lifelong involvement with Renaissance polyphony. Long-arched, soaring melody is another hallmark, present in virtually every work from the Sonata for Flute and Harp onwards. Through his choral experience he became fascinated with traditional Dutch songs, of which he made many popular arrangements. In addition, he used these tunes to generate themes in original compositions, either overtly (Quartet no.1) or as a form of musical punning or submerged quotation (Cello Sonata no.2, Piano Trio); Bizet and Wagner fragments are treated similarly in the Flute Concerto. This concern with motivic development carries over into the Dansflitsen, where a seven-movement dance suite grows out of one small motif. In the Chorus tragicus (1927), to a text by Vondel concerning the fall of Jerusalem, unusual choral techniques are used, with suggestive sound effects in the brass and percussion accompaniment. In this work, the Chorus symphonicus, St Antoine (written for an international congress of church music in Augsburg), Psalm 84 and St Joris, Dresden emerges as his country's leading twentieth-century composer of oratorios and festive choral music. The Chorus symphonicus, his most monumental composition, was written during World War II. The texts, from the penitential psalms, reflect the hardships and bitterness of everyday life in those years. By contrast, the operetta Toto, about a little dog concealed from licensing authorities, is a humorous representation of Dresden's own existence during the Occupation. Dresden's last composition was the one-act opera François Villon, to his own text. His pupil Jan Mul prepared the orchestral score after the composer's death, and the work was first performed during the 1958 Holland Festival. It was praised as the most striking Dutch opera to date.
3 Generaties Mengelberg features 3 generations paying tribute to the great composer jazz pianist and dadaist Misha Mengelberg. Three bands featuring Han Bennink, Joris Roelofs, Benjamin Herman, Jasper Blom, Ian Cleaver, Joost Patocka, Thomas Pol and Wouter Kühne will each highlight Mengelbergs compositions, alternated by free improvisations by Mengelberg heir pianist Oscar-Jan Hoogland
Halfdan Cleve Franz Xaver Scharwenka Johann Sebastian Bach Otto Winter Hjelm Hjelm Raif Philipp Scharwenka 1879 1902 1951 2015
It is my sincere and express wish that any and all remuneration, actual or potential, that may be my due, be directed instead towards all holders of copyright. Should any such copyright holders wish that this video be removed, please notify me before contacting YouTube and I will delete it as soon as possible. Halfdan Cleve +••.••(...)) Piano Concerto No. 2 in B-flat minor, Op. 6 I. Allegro moderato e maestoso 0:00 II. Adagio 11:37 III. Allegro risoluto 20:15 Charlotte Purrucker, piano Hannover Radio Symphony Orchestra Hans Herbert Jöris, conductor Dedicated to Franz Xaver Scharwenka Halfdan Cleve +••.••(...)) was a Norwegian composer, born and raised in Kongsberg, although he spent some time in Germany. Throughout his early childhood he was tutored with a firm hand by his father, the organist Andreas Klewe. A child prodigy, he made his first appearances on the concert stage at the age of five. The strictness of his training is exemplified by the fact that he was not allowed to play anything other than the works of Johann Sebastian Bach until he was sixteen! For the next three years his musical training was undertaken by Otto Winter-Hjelm, after which he studied in Berlin under Professor Raif and the brothers Xaver and Philipp Scharwenka. In 1902 he married Berit Winderen, a student of Theresa Carreno, and together they made numerous concert appearances, both in Norway and abroad. They had four children. Cleve composed five piano concertos, a violin sonata, a piano quintet, songs with orchestral accompaniment and over one hundred piano pieces.
ou
- chronologie: Chefs d’orchestre (Europe). Artistes lyriques (Europe).
- Index (par ordre alphabétique): J...