Martijn Padding Vidéos
compositeur néerlandais
- piano
- Royaume des Pays-Bas
- compositeur ou compositrice, pianiste
Dernière mise à jour
2024-06-01
Actualiser
Charles Draper Spencer Dyke Tomlinson Patterson Brahms Yvonne Printemps Eulenburg Padding Schubert Kreisler 1401 1754 1926
MOZART: Clarinet Quintet in A major - (K. 581) Charles Draper (clarinet) Spencer Dyke Quartet: Spencer Dyke and Edwin Quaife (violins), Ernest Tomlinson (viola), B. Patterson Parker (‘cello) Released on National Gramophonic Society Records XX, YY, ZZ, AAA. Size: 12” Sides: 7; Speed: 80 rpm Manufactured by: Vocalion Matrices: NGS. 20, 21X / 22X, 23 / 24X, 25X / 26X, 28 Recording date: c. May to August 1926 Issue date: September 1926 Time Side - Title Record 0.05 No. 1 - Allegro XX 2:51 No. 2 - Allegro (concluded) XX 6:50 No. 3 - Larghetto YY 10:09 No. 4 - Larghetto (concluded) and Menuetto YY 14:01 No. 5 - Menuetto (concluded) ZZ 17:54 No. 6 - Allegretto con Variazioni ZZ 21:58 No. 7 - Allegretto con Variazioni (concluded) AAA The Gramophone, September 1926. National Gramophonic Society Notes Mozart. Clarinet Quintet in A major (K-V. No. 581) IT is difficult to imagine a more complete contrast than that afforded by a comparison of Mozart's A major with Brahms' B minor clarinet quintets. The happy, irresponsible feeling of the former is the very antithesis of the deeply thoughtful and profound tone of the latter work. As well compare Yvonne Printemps and Eleonora Duse! Such comparisons, however interesting, are not my present purpose; so, to Mozart's work without further ado. First Movement.-Allegro. Score (Eulenburg, 3s.): first side, page 3 to bottom of page 8. Second side, page 9 to page 18, end. The first subject of the quintet is pleasure to eye and ear in its lay-out, and its gradual descent through the scale. The clarinet entering, as it did in the Brahms, with an arpeggio, gives a little flourish of happy sound before the repetition of the first subject. The second subject is a most graceful tune for the first violin, chromatically treated immediately afterwards by the clarinet which imparts to it a tinge melancholy, soon, however, dispersed. Just before the double bar a reminiscence of the first subject appears in a coda-like manner. This section is now repeated. It must be confessed that the working out, which begins on side 2, is rather mechanical. After the semi-fugal passages near the start, the up-and-down arpeggi on clarinet and strings sound flat and barely escape the suspicion of padding. But interest returns with the recapitulation, in the course of which may be heard a delightful variant, for the clarinet, of the second subject. Notice also the beautiful rhythmic variety in the parts at the bottom of page 17. Second Movement.-Larghetto. Score: third side, page 19 to page 23, line 3, bar 1; fourth side, page 23, line 3, bar 2, to page 26, end. Third Movement.-Menuetto. Fourth side, page 27 to page 28,line 2. Fifth side, page 28, line 3 to end. Against a background of muted strings, as in Brahms again, the clarinet sings such tranquil phrases as Mozart, and Schubert, alone hold the secret of. A long duologue between clarinet and first violin, based on the second subject, forms the section of contrast. Jets of notes are tossed from one instrument to another, until the clarinet leads us back into the elysian fields of the first tune. This proceeds on its way just as before with the exception of some triplet passages near the close and a coda. There are two trios to the minuet, the first of which fulfils the true function of the trio-one of contrast-by giving us a rest from the voice of the clarinet. The latter takes his revenge by predominating in the second trio. The minuet is heard three times, an ordeal which its charm easily survives. Fourth Movement.-Allegretto con Variazioni. Sixth side. Score: page 34 to page 42, line 1, end. Seventh side, page 42, line 2, to end. The last movement, as in the case of the Brahms' work, is cast in the form of an air with variations. The perky little air is first elaborated by the clarinet (Variation 1), and then by the first violin with a triplet accompaniment (Variation 2). The third variation, in the minor key, is ingeniously contrived. After the sad wail of the violins the viola has a persistent sobbing figure to play, which is again heard at the end of the variation. This is not the grief of an adult, but of a child, whose toy has been broken! In case we have gone astray a bit, Mozart takes us by the hand again in the fourth variation; a clear reference to the theme with much chattering from the clarinet. An adagio and allegro (side 7) really forming variations 6 and 7 (but not so marked in the score) conclude the movement. (The following repeats are not observed: second half of air; second half of variations 1, 2, and 4.) The fine art of Charles Draper, Kreisler of clarinettists, together with the splendid support of the Spencer Dyke Quartet, make this recording a veritable treasure. The adagio from the DUET IN G FOR VIOLIN AND VIOLA by Mozart occupies the last (eighth) side. The tonal contrasts of the instruments are well exploited. The music is too clear to call for any analytical comment. N. P.
Martijn Padding Etienne Siebens Andriessen Keulen Stravinsky Mahler Scharf Monk Brahms 1956 1993 1995 2008
Martijn Padding (1956) First harmonium concerto : for harmonium and ensemble (2008) 1. Horlepiep - 00:00 2. Procession - 04:35 3. Third Movement - 09:50 Dirk Luijmes, harmonium Ensemble: Asko-Schönberg Conductor: Etienne Siebens written for Dirk Luijmes and Ensemble 'De Ereprijs' Martijn Padding is a Dutch composer. He studied musicology and sonology at Utrecht University and undertook piano studies with Fania Chapiro. At The Hague Royal Conservatory he studied composition with Andriessen and instrumentation with Geert van Keulen. Before becoming a full-time composer, he was for several years a pianist for the National Academy for Ballet, and also worked with modern dancers such as Krisztina de Châtel, Beppie Blankert and Bianca van Dillen. Padding, like Stravinsky and his teacher Andriessen, believes that music is about the music of others; he feels that the many different types of music in the post-serial years have led to an 'age of stylelessness'. His music is related to the anti-Romantic and post-minimalist aesthetics of The Hague school, but also draws inspiration from Mahler's juxtaposition of popular and art-music styles. In his large orchestral work Scharf abreissen (1995), part of a trilogy including Nicht eilen, nicht schleppen (1993) and Jesu, erbarme Dich noch einmal (1993), he juxtaposes two-part Renaissance-like chorales with sections of irregular, 'psychotic' rhythmical chord progressions inspired by the music of Thelonious Monk, and with sections of music of greater hysteria and bombast recalling Mahler and Brahms. He strives for an uninhibited manner of composing, which is nevertheless always dominated and guided by harmonic principles. In his trilogy, for example, a matrix of six six-part chords is the unifying harmonic framework which allows the music to modulate between diatonic and chromatic textures. His more recent works are less prone to the angular construction and pithy harmonic structure of his earlier pieces, and although Padding's music often still exhibits a technical-musical aspect, a theatrical element is increasingly evident.
Concertgebouw Louis Andriessen Martijn Padding Zappa Harden
LIVE vanuit Het Concertgebouw: Asko|Schönberg ensemble Het stuk ‘Soul Canoe’ wat Composer in Residence Tansy Davies dit seizoen in opdracht van Het Concertgebouw voor Asko|Schönberg componeerde gaat vrijdag 17 mei in prèmiere! Ook klinken werken van Louis Andriessen, Martijn Padding én Pete Hardens eerbetoon aan Frank Zappa. PROGRAMMA: Harden - At Pappa's Altar L. Andriessen / Padding - Gesprek Davies - Salt Box L. Andriessen - Hout Davies - Soul Canoe (wereldpremière)
Martijn Padding Andriessen Keulen Stravinsky Mahler Scharf Monk Brahms 1956 1993 1995 2001
Martijn Padding (1956) One trumpet : for trumpet solo (2001) Peter Masseurs, trumpet Martijn Padding is a Dutch composer. He studied musicology and sonology at Utrecht University and undertook piano studies with Fania Chapiro. At The Hague Royal Conservatory he studied composition with Andriessen and instrumentation with Geert van Keulen. Before becoming a full-time composer, he was for several years a pianist for the National Academy for Ballet, and also worked with modern dancers such as Krisztina de Châtel, Beppie Blankert and Bianca van Dillen. Padding, like Stravinsky and his teacher Andriessen, believes that music is about the music of others; he feels that the many different types of music in the post-serial years have led to an 'age of stylelessness'. His music is related to the anti-Romantic and post-minimalist aesthetics of The Hague school, but also draws inspiration from Mahler's juxtaposition of popular and art-music styles. In his large orchestral work Scharf abreissen (1995), part of a trilogy including Nicht eilen, nicht schleppen (1993) and Jesu, erbarme Dich noch einmal (1993), he juxtaposes two-part Renaissance-like chorales with sections of irregular, 'psychotic' rhythmical chord progressions inspired by the music of Thelonious Monk, and with sections of music of greater hysteria and bombast recalling Mahler and Brahms. He strives for an uninhibited manner of composing, which is nevertheless always dominated and guided by harmonic principles. In his trilogy, for example, a matrix of six six-part chords is the unifying harmonic framework which allows the music to modulate between diatonic and chromatic textures. His more recent works are less prone to the angular construction and pithy harmonic structure of his earlier pieces, and although Padding's music often still exhibits a technical-musical aspect, a theatrical element is increasingly evident.
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