Johan Wagenaar Vidéos
compositeur et organiste néerlandais
- orgue
- opéra
- Royaume des Pays-Bas
- chef ou cheffe d'orchestre, compositeur ou compositrice, musicologue, professeur ou professeure de musique, organiste
Dernière mise à jour
2024-05-04
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Theo Bruins Willem Pijper Beinum Ravel Debussy Mahler Toscanini Boulez Lark Leeuw Visser Johan Wagenaar Concertgebouw Orchestra 1456 1912 1916 1921 1931 1934 1937 1938 1940 1941 1943 1944 1945 1946 1947 1948 1955 1957 1958 1959 1960 1961 1964 1966 1967 1968 1969 1971 1977 1980
Rudolf Escher +••.••(...)) Arcana : suite for piano solo, Op. 9 (1944) 1. Preludio (Largo) - 00:00 2. Toccata (Presto) - 04:26 3. Ciaccona (Lento Con Grazia) - 08:48 4. Finale (Moderato Molto - Allegro Risoluto) - 14:56 Theo Bruins, piano dedicated to Luctor Ponse Rudolf Escher was a Dutch composer. From 1916 to 1921 he lived with his parents on Java, where his father worked as a geologist and mineralogist. Back in the Netherlands he studied the piano, the violin and harmony privately. At the Rotterdam Conservatory he studied the piano +••.••(...)) and composition (with Pijper, 1934--1937). Until 1940 he lived in Rotterdam, where most of his scores were destroyed during the bombing by the Germans in May of that year. During World War II Escher composed Musique pour l'esprit en deuil +••.••(...)), which was first performed in 1947 by the Concertgebouw Orchestra under van Beinum and which made him overnight the most important composer in the Netherlands. From 1945 until his death he lived in Amsterdam. After a short study at the Electronic Studio of the Delft Technical University he taught +••.••(...)) at the Amsterdam Conservatory. From 1964 to 1977 he taught theory of contemporary music at the University of Utrecht. The result of his teaching is to be found in many studies in the field of music theory and audiology. He was also a talented writer and painter, continuing to publish poetry in literary magazines until well into the 1950s. From 1945--1946 he wrote on music and art for the Groene Amsterdammer. Escher's music is lyrical, expressive and elegiac, with a great propulsive force, more French then German in its orientation (the main influences being Ravel, Debussy and Mahler). It is always basically tonal, and mostly cast in a strictly contrapuntal frame with chains of variations. Everything he wrote can be clearly discerned by the ear. In 1938 he wrote: 'The miracles of a piece of music will never be revealed, unless in a natural way, through sounding and hearing. That means sounding well and hearing well. The latter condition is a priori impossible if the former one cannot be fulfilled'. (Toscanini en Debussy). Apart from this technical aspect of composing, Escher discerned a psychic one: 'The technique of a composer is intimately related to his spiritual and intellectual self, his psyche'. This can be seen in his war compositions, such as Musique pour l'esprit en deuil, the Sonate concertante (1943) for cello and piano, Arcana (1944) for piano (originally called Arcana Musae Dona), and the first two movements of the Sonata for cello solo (1945; the third movement was completed in 1948). Each of these compositions is in a way an impressive 'document humain'. The works written immediately after 1945 do not reflect the war in the same way, but Escher's longing for peace is reflected in the 'Arcadian' choral works such as Songs of Love and Eternity (1955) and Ciel, air et vents (1957). As a theorist, Escher analysed many 20th-century scores from Debussy to Boulez, explaining the latter on the basis of Escher's own analysis of the former's music. As a composer, however, he preferred to remain true to the music of Debussy and Ravel without denying the technical implications of the music of the serialists, as in his Second Symphony (1958, revised in 1980), Wind Quintet (1967) and Monologue for flute solo (1969). In the early sixties Escher tried to extend his technique towards electronic music and serialism, but after several crises he was unable to find a technique which would allow him at the same time to remain true to his psyche. The results of this search are nevertheless interesting, and the brilliant Wind Quintet (1967) and Summer Rites at Noon for two orchestras (1971) are examples of Escher's technical and emotional powers. The sound of the Wind Quintet is dominated by the timbres of alto flute, oboe d'amore and bass clarinet. Only at the end is the alto flute replaced by a normal flute for a brilliant and exciting 'lark solo'. Here Escher combines Debussian intervallic manipulations with Boulezian structural formulae. Kernels of intervals grow into motifs and melodies through rhythmical development. The main structure consists of three movements (A1--B--A2), which are linked by two short bridges (Z1 and Z2). Each movement consists again of three segments (a--x--a), which results in six 'a' segments accelerating from Largo to Prestissimo, while at the same time the 'x' segments slow down from Moderato to Largo. The Prestissimo combines the flute's 'lark solo' with the other instruments playing Largo underneath. Escher received several prizes for his compositions, including the van der Leeuw Prize (1959) for Le tombeau de Ravel, the Visser-Neerlandia Prize (1961 and 1968) for Nostalgies and the Wind Quintet, the Willem Pijper prize (1966) for the Sonata concertante for cello and piano and the Johan Wagenaar prize for his total output.
Jacob Raphael Druckman Marc Antoine Charpentier Bernard Wagenaar Wagenaar Aaron Copland Bard David Zinman Wolfgang Sawallisch Zubin Mehta Leonard Slatkin Dawn Upshaw Jan Degaetani Tanglewood New York Philharmonic Dorian Wind Quintet 1928 1949 1950 1954 1964 1972 1982 1985 1990 1996 1997
Brass Ring "New American Classics" 1996 (http•••) Commissioned by the Brass Ring with the support of the Connecticut Commission on the Arts. First performed by the Brass Ring at Toad's Place, New Haven, Connecticut on 16 April, 1990. The work embraces fragments from the aria Quel prix de mon amou? from Act III, scene 3 of the opera Medee (1964) by Marc Antoine Charpentier. Jacob Raphael Druckman (June 26, 1928 – May 24, 1996) was an American composer born in Philadelphia. A graduate of the Juilliard School, Druckman studied with Vincent Persichetti, Peter Mennin, and Bernard Wagenaar. In 1949 and 1950 he studied with Aaron Copland at Tanglewood and later continued his studies at the École Normale de Musique in Paris (1954–55). He worked extensively with electronic music, in addition to a number of works for orchestra or for small ensembles. In 1972 he won the Pulitzer Prize for his first large orchestral work, Windows. He was composer-in-residence of the New York Philharmonic from 1982 until 1985. Druckman taught at Juilliard, The Aspen Music Festival, Tanglewood, Brooklyn College, Bard College, and Yale University, among other appointments. He is Connecticut's State Composer Laureate. Druckman died of lung cancer at age 67. His music is published by Boosey & Hawkes. He is the father of percussionist Daniel Druckman. Notable musicians who have recorded his works include David Zinman, Wolfgang Sawallisch, Zubin Mehta, Leonard Slatkin, Dawn Upshaw, Jan DeGaetani, Dorian Wind Quintet, and the American Brass Quintet. Source: (http•••) The purpose of this video is strictly educational and to promote chamber brass music abroad. Please support composers and performers.
Alexander Voormolen Matthias Bamert Johan Wagenaar Roussel Ravel Casella Delius Florent Schmitt Debussy Een Residentie Orchestra 1748 1895 1915 1916 1919 1920 1923 1924 1925 1927 1928 1931 1938 1947 1955 1957 1980
Alexander Voormolen +••.••(...)) Baron Hop Suite No. 2 : for orchestra (1931) 1. Ouverture Viva Carolina - 00:00 2. Menuet Princesse Royale - 05:54 3. Air Willem V - 11:59 4. Rondo Wolfenbüttel - 17:48 Orchestra: Residentie Orchestra The Hague Conductor: Matthias Bamert dedicated to Henk Spruit Alexander Voormolen was a Dutch composer. He studied composition in Utrecht with Johan Wagenaar and with Willem and Martinus. In 1916, on the recommendation of Rhené Baton (who conducted his overture to Maeterlinck's La mort de Tintagiles at The Hague in 1916), he went to Paris, where he worked with Roussel and became close to Ravel, Casella, Delius and Florent Schmitt. He returned to settle in the Netherlands in 1920, first in Veere and moved to The Hague in 1923. For many years he was music critic for the Nieuwe Rotterdamsche Courant, and then from 1938 to 1955 he was librarian of the Conservatory of The Hague. Voormolen's first works (those from the years 1915--1925) show a chromatic harmonic style influenced by Debussy, Ravel and Delius, and also an early return to Baroque forms. In addition, after 1919 he drew increasingly on Dutch folksong, as in the piano suite Tableaux des Pays-Bas +••.••(...)). In the 1920s Voormolen searched for a more individual, typically Dutch style, one that was permeated with old tunes, the sound of the Dutch carillon, and that evoked the atmosphere and elegance of the Dutch Baroque. This resulted in such popular scores as the Baron Hop suites +••.••(...)), the orchestral variations De drie ruitertjes (1927), the concertos for one or two oboes (1938) and the symphonic poems Een zomerlied (1928), Arethuza (1947) and Eline (1957).
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