Dutch Composers

[Christo]

Another one: Julius Röntgen, Bitonal Symphony (1930) - Noord Nederlands Orkest, Hans Leenders
(Lento e mesto - Animato - Allegro agitato - Andante sostenuto - Molto tranquillo - Tempo I)

http://www.mediafire.com/?wbwmjyxytzx
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We better forget about the numbering - there's too much confusion here. Last month, Jurriaan Vis came with a huge monography (biography + discussion of his major compositions) on Röntgen that no doubt clarifies the numbers of the surviving symphonies (a few went lost, appearantly). But I didn't buy that book yet.

To quote from the booklet:
` The Bitonal Symphony from 1930 is a unique and one-off experiment in the technique of contemporaries like the members of the Groupe of Six, Stravinsky and Martinu. Röntgen closely followed the developments of new music and was not narrow-minded in his admiration for composers like Debussy, Stravinsky, Hindemith and Gershwin. Debussy's Pelléas et Mélisande delighted Röntgen enormously. His analyses of contemporary music led incidentally to compositions in the style of admired examples. Röntgen however, rejected Schönberg and his twelve-tone system, which he regarded as unmusical. The Bitonal Symphony, which Röntgen proudly reported to Donald Tovey, is not really a homage to Debussy or the later representatives of bitonality. Röntgen's bitonality is one without sharp edges, without the gay insolence of Milhaud or Stravinsky's neoclassical hidden meaning. (...)
The symphony consists of six short movements linked to one another. A strong chromatic motif and its inversion set the introduction's atmosphere, which is sparsely instrumented and slow in development. The following Animato starts with ascending runs of five notes, exposing an instable harmony caused by the augmented fifth interval. Röntgen chooses for a contrasting tempo in a dance-like triple meter time. The motif of five rising notes characterizes the following Allegro agitato. The Andante sostenuto has again the form of a theme with a recognizable harmonic cadenza - without a tinge of bitonality! The texture becomes fuller and a romantic connecting passage leads to the last part, in which the chromatic opening motif and the bitonal `motto' sounds a last time in the harp. ' (notes by Theo Muller)

[J.Z. Herrenberg]

Thanks for uploading the two Röntgen symphonies!

[Christo]

Noblesse oblige! Finally, a third one: Julius Röntgen, Symphony in A minor (1931) Noord Nederlands Orkest, Hans Leenders
(Moderato - L'istesso tempo - Un poco vivace - Tempo I, Moderato)

http://www.mediafire.com/?mx1utn9omyt
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` The symphony belongs to the group of one movement, through-composed symphonies. César Franck's cyclical principle is applied by usage of a central theme, which from the outset is heard a number of times. '

[Christo]

And now for a start with my major discovery, this week: Léon Orthel (1905-1985). I'm often reminded of Einar Englund, but you better decide for yourselves. As an easy starter, his very late & rather soundtrack-like Evocazione that I remember to have heard on the radio back in 1979, but didn't hear again untill last week, now that it was released on a new Etcetera CD with radio recordings.

Léon Orthel, Evocazione per orchestra Op. 83 (1977)  [04:23]
Amsterdam Philharmonic Orchestra, Anton Kersjes, rec. NOS Radio, 24 October 1979.

http://www.mediafire.com/?gv2ynsnmqxt

`Evocazione was written when the composer was 72 years old. It is the result of a commission for a short opening piece that the Dutch music rights organisation BUMA and Anton Kersjes gave to ten Dutch composers. The rather filmic introduction is followed by a lyric passage mainly in the strings, which is so characteristic of Orthel. It is followed by a march that leads to a climax, after which the work is concluded by rudiments of the introduction. The composer wrote down his ideas after reading Rilke's Toten-Tanz and seeing Pieter Bruegel the Elder's The Triumph of Death.'   (from notes by Otto Ketting)

[J.Z. Herrenberg]

I can't wait to listen to Orthel, I'll download the Evocazione first!

[Christo]

Léon Orthel, Symphony No. 2 'Piccola sinfonia' Op. 18 (1940)   [15:33]
Residentie Orkest, The Hague, Willem van Otterloo, rec. Scheveningen, Kurhaus, October 1959

http://www.mediafire.com/?bw3jz1ttagb

Léon Orthel's brief, one-movement Symphony No. 2 was dedicated to Eduard Flipse, who conducted the work's premiere in October 1941 with the Rotterdam Philharmonic Orchestra. The sombre, elegiac opening phrases and the dramatic tone of the closing measures – ominous rather than triumphant – perhaps reflect the mood of the time (1940) in which the work was written. This RO recording dates from 1959 and was released on a mono LP, together with Hendrik Andriessen's Kuhnau Variations and Ricercare. It was the only work that was recorded not in the Amsterdam Concertgebouw but in the Kurhaus in Scheveningen. Orthel's Symphony No. 2 enjoyed countless performances during the 1950's and 60's. Van Otterloo also performed this piece abroad, for example during the RO's American tour in 1965.   (Otto Ketting)

Léon Orthel's Second Symphony is a concise wartime work, which is both tonal and accessible. At the start we hear "sombre, elegiac opening phrases" (Ketting). Then a faster, energetic passage for the strings ushers in a powerful section in which the brass are much involved. Around 4:10 the music becomes slower and more pensive; here the strings and a regretful flute solo are to the fore. The passage between 5:20 and 7:00, which mainly features the strings and woodwind, put me in mind of Vaughan Williams's Fourth and Sixth symphonies. This is followed by a more cheerful section, which could be taken for a brief scherzo, after which a short fugue paves the way for an exciting climax. A doleful clarinet solo [11:00] ushers in a slower, more reflective episode and then the brass lead a powerful ending. This impressed me as a serious, compact and worthwhile piece and so far as I can judge it is played with conviction and purpose.   (John Quinn, review at Musicweb)

[Christo]

Léon Orthel, Scherzo no. 2 per orchestra Op. 38 (1957)  [12:02]
Het Brabants Orkest, Marc Soustrot, rec. NPS Radio, Muziekcentrum Frits Philips, Eindhoven, 4 June 1998

http://www.mediafire.com/?dlo3jz1dt2w

`Night-music and obsessive rhythmic repetition were two tried-and-true methods with which Badings created an atmosphere of sombreness in many of his works. Léon Orthel (1905-1985) was similarly possessed by a vision of darkness when composing his Second Scherzo for Orchestra in 1957. The idea of a sombre scherzo seems at first glance a contradiction in terminis, but Orthel explained his work thus: `While I never planned to depict any of his paintings in music, the figure of Hieronymus Bosch loomed before me during the process, of composing the piece. It is an indication that this scherzo is no laughing matter.' The jolly scherzo of old has indeed been transformed here into hideous grimace, it is not difficult to imagine the bitter faces of Boschs paintings in the stopped brass and biting instrumental solos. Léon Orthel was primarily a symphonist. He composed twelve large-scale symphonic works, including six symphonies. He observed new developments in compositional technique with great interest, but nevertheless always followed his own musical intuition, and neither atonality nor serialism was ever able to get a foot in the door. Orthel developed a completely personal style which was greeted by critics with a mix of relief and apprehension. Nevertheless, the high level of craftsmanship and musical integrity that characterize his entire oeuvre were rewarded with the Johan Wagenaar Prize in 1973.'  (from notes by Saskia Törnquist)

[J.Z. Herrenberg]

Just listened to the Evocazione two times, and I am now in the middle of the 'Piccola sinfonia'... Well, what can I say - I am more than pleasantly surprised! Your enthusiasm is well-founded, Christo. This is excellent music. Orthel is audibly his own man.

Later addition: the 'Piccola Sinfonia' just finished. 'Piccola' is quite an understatement! This is a very powerful symphony, very concentrated, with moments of poignant beauty. Vermeulen may be extraordinary, but Orthel is far from second-rate. On the contrary.

[Christo]

Just listened to the Evocazione two times, and I am now in the middle of the 'Piccola sinfonia'... Well, what can I say - I am more than pleasantly surprised! Your enthusiasm is well-founded, Christo. This is excellent music. Orthel is audibly his own man.
Later addition: the 'Piccola Sinfonia' just finished. 'Piccola' is quite an understatement! This is a very powerful symphony, very concentrated, with moments of poignant beauty. Vermeulen may be extraordinary, but Orthel is far from second-rate. On the contrary.

More - the equally powerful but more extended and even more warlike Third (1943) and rather different (`Sinfonia concertante') Fourth (1949) - to follow later. Mediafire refusing service at the moment (well, my always poor signal is simply too weak at the moment ...). Good to hear that you like them!

[J.Z. Herrenberg]

More - the equally powerfull but more extended and more warlike Third (1943) and rather different (`Sinfonia concertante') Fourth (1949) - to follow later. Mediafire refusing service at the moment (well, my always poor signal is simply too weak at the moment ...). Good to hear that you like them!

I am now listening to the Scherzo No. 2... 'Liking' isn't the word. This is music I can love unreservedly.

Later:

Now we are so busy sharing, for those who don't have these already, here are Vermeulen's Second and the Passacaille et Cortège form 'De Vliegende Hollander', first performances, Van Beinum conducting the Concertgebouw Orchestra:

http://rapidshare.com/files/102350106/Vermeulen_Symphony_No.2__Prelude_a_la_nouvelle_journee___Eduard_van_Beinum_Jul5_1956.mp3

http://rapidshare.com/files/102350103/Vermeulen_Passaceille_et_Cortege_from__De_vliegende_Hollander__Eduard_van_Beinum_Mar17_1957.mp3

[pjme]

Sooner or later I should upload Belgian music....but for now, here is Rudolf Escher's magnificent "Hymne du grand Meaulnes" - a multi-layered ,slowly expanding symphonic song. A tribute to the Sologne region in France and an hommage to the youthful striving and deceptions of Meaulnes himself ( (Alain -Fournier's novel is still quite popular today).

The Rotterdam Phil.O. / Edo De Waart

http://www.mediafire.com/?abmdtfyydmn

[Christo]

Sooner or later I should upload Belgian music....but for now, here is Rudolf Escher's magnificent "Hymne du grand Meaulnes" - a multi-layered ,slowly expanding symphonic song. A tribute to the Sologne region in France and an hommage to the youthful striving and deceptions of Meaulnes himself ( (Alain -Fournier's novel is still quite popular today).

The Rotterdam Phil.O. / Edo De Waart

http://www.mediafire.com/?abmdtfyydmn

Many thanks, Peter, had a first listen - great music indeed!

I never saw that Telarc CD, can you offer some details?

[pjme]

Christo it is a TELEAC CD! ( not Telarc...that would be a real surprise).

The CD came with a book and (possibly) a series on the Radio or TV. ( Muziek in de Nederlanden 1950-heden) / 1989 - stichting Teleac/Utrecht - Klaas Postuma/Leo Samama)

Escher's work is coupled with Vermeulen's 6th symphony ( Les minutes heureuse), Ton de Leeuw's Symphonies for winds and Tristan Keuris "Catena" (winds and percussion). All works performed by the Rotterdam Ph.O / Edo De Waart.

I bought it  at De Slegte ( a few left over Cd's - the book was sold out).

Peter

[Christo]

Christo it is a TELEAC CD! ( not Telarc...that would be a real surprise).

The CD came with a book and (possibly) a series on the Radio or TV. ( Muziek in de Nederlanden 1950-heden) / 1989 - stichting Teleac/Utrecht - Klaas Postuma/Leo Samama). Escher's work is coupled with Vermeulen's 6th symphony ( Les minutes heureuse), Ton de Leeuw's Symphonies for winds and Tristan Keuris "Catena" (winds and percussion). All works performed by the Rotterdam Ph.O / Edo De Waart. I bought it  at De Slegte ( a few left over Cd's - the book was sold out).

Peter

Telarc, the lark, Teleac, it's all a bit confusing for me :-)  The funny thing being, that I think I own the book, but not the CD ... probably because you had bought it 

[Thom]

Thank you all so much for the great uploads! I appreciate this very much.

Th.

[Christo]

Léon Orthel, Symphony No. 3 Op. 24 (1943)  [33 minutes]
1.   Adagio                               [05:34]
2.   Scherzo                             [06:57]
3.   Adagio                               [07:27]
4.   Allegro non troppo – Adagio   [12:46]

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Netherlands Radio Philharmonic Orchestra, Willem van Otterloo (rec. AVRO Radio, 12 April 1972).

`Orthel wrote six symphonies, the second of which is the best known and possibly Orthel's masterpiece. The Third Symphony was written three years after the Second. The introduction with the clarinet, violins and tenor drum, is a disguised quote from Psalm 140: `Evil shall hunt the violent man to overthrow him'. Naturally this had to be concealed during the German occupation and it was not revealed by the composer after the war. The Scherzo is rather angular and sarcastic; the Trio is based on the rhythm of a nursery rhyme, which also plays a role in the third movement, interrupting the slow pace. In the march at the end – the First Symphony (1933) finishes with a march as well – the psalm melody from the beginning is used again, but now in its entirety. '  (booklet notes by Otto Ketting)

Of course, I checked my books on Dutch music, but none of them, not even Leo Samama's extensive and often detailed overview of contemporary Dutch music (Zeventig jaar Nederlandse muziek, 1915-1985, Amsterdam 1986) pays any special attention to Léon Orthel's music, let alone to his Third Symphony. The Second (`Piccola Sinfonia', 1940) is the only one to receive some attention. The Fourth (`Sinfonia concertante for piano and orchestra', 1949) is also mentioned, but the Fifth (1960) and Sixth (1961) are both completely ignored as well. So, whether or not his Third Symphony is worth a listen at all, after all – it's completely up to you to decide. 

[J.Z. Herrenberg]

I have been very busy today, so a belated thanks to Peter for the wonderful Escher piece and a big thankyou to Christo for uploading the discovery of the year - Orthel's Third! I am going to download it now and listen to it...

[Dundonnell]

I just want to add my warmest appreciation and deepest thanks to Christo and Peter for their kindness in making so much Dutch music available to us in the last 24 hours.

Never in my wildest dreams when I started this thread could I have imagined that the flood gates would open(oh, I am sorry-that is probably not the best metaphor to use for those in the Low Countries! ) and music I had never hoped to be able to hear should now be added to my collection.

Thank you so much, gentlemen!

[Thom]

So what do you think of Lex van Delden (1919 - 1988)?

From the New Groove:

He studied medicine at Amsterdam University, but as a Jew he
was forced to interrupt his studies during World War II. Van Delden was
self-taught as a composer. Between 1947 and 1982 he was music editor of
the daily paper Het parool, and published many articles in Dutch and
foreign periodicals. During his life he held several administrative posts in
Dutch musical life, including chairmanships of the Society of Dutch
Composers (GeNeCo) and the Office of Music Copyright (BUMA). The first
of Delden's works to attract attention was the cantata Rubáiyát, awarded
the music prize of the City of Amsterdam in 1948. His Harp Concerto and
Impromptu for solo harp were awarded prizes by the Northern California
Harpists' Association in 1953 and 1956. Many of his compositions were
commissioned by the Dutch government, the City of Amsterdam and Dutch
radio. Van Delden expresses his strong social concern in his works: In
memoriam was written in response to the flood disaster of 1953, while
Canto della guerra and Die vogel vrijheid are condemnations of war and
slavery respectively. His compositional style is overtly tonal and based on
conventional forms. He often builds a work from one fairly concise idea; the
tenacity to this starting point generates a conflict which provides the
impetus for the music. The resolution generally takes the initial idea
through a mosaic of variations.

I like his Concerto per Due Orchestre d'Archi
http://www.mediafire.com/?uzfytpjfzyn

This one is from an Etcetera disk (KTC 1156, 1993) with Eugen Jochem and the Concertgebouw. Orchestra. It is clearly a live recording with annoying background noises (coughs etc) but still, i think this is good music!

[J.Z. Herrenberg]

I knew Lex van Delden primarily as a good music-critic for the Amsterdam-based newspaper Het Parool. I heard one of his compositions in the Concertgebouw once (when he was still alive and even present in the audience). I found it a rather tame affair then, but I was a very absolute young man. I'll have a listen to this piece later today (those two string orchestras sound enticing already!). Thanks!