Dutch Composers

[ritter]

Met Theo Olof's grandson, Johan Olof, two weeks ago. A violonist, he led the Amsterdam String Orchestra Lundi Bleu ('Blue Monday', the orchestra is an "extra" for most performers, in order to be able to do some 20th century music). His programme -- perfect performances -- was daring enough:

• George Antheil, Serenade for Strings
• Ralph Vaughan Williams, Charterhouse Suite
• Geörgy Ligeti, Hommage a Ligeti
• Alfred Schnittke, Moz-Art à la Haydn

Nice!

Johan Olaf's penchant for 20th century music is only natural, given his descent  . His father was the dedicatee of Bruno Maderna's superb Violin Concerto.

[Symphonic Addict]

Another interesting CPO recording to be released on 19 June:

[Karl Henning]

Geörgy Ligeti, Hommage a Ligeti

Ligeti wrote an hommage to himself? That may be the most  Ligeti thing I's ever heard of.

[Der lächelnde Schatten]

Ligeti wrote an hommage to himself? That may be the most  Ligeti thing I's ever heard of.

Hah. Certainly @Christo meant Horn Trio, "Hommage à Brahms".

[pjme]

....or Hommage to Hilding Rosenberg?

Jan Ingenhoven (1876-1951)

https://en.wikipedia.org/wiki/Jan_Ingenhoven

to be explored....!

"Ingenhoven composed orchestral music in a late Romantic style, comparable to Franz Schmidt, Richard Strauss and Alexander Zemlinsky. Typical are the three orchestral Symphonic Poems (Lyrical, Dramatic, Romantic) composed between 1905 and 1908: the second of these was performed three times by the Concertgebouw Orchestra in September 1915, conducted by Evert Cornelis. Other large scale orchestral pieces in much the same vein are the Symphonische Fantasie über Zarathustras (1906) and the Symphonische Fantasie Brabant and Holland (1910–11).[4]A more original side of his work is seen in his songs, vocal quartets and choral music. The song cycle Blumenlieder (1907–8) - seven flower songs with words by various authors - experiments with a declamatory style which closely reflects the accents, relative lengths and inflections of the text.[3] The vocal quartet 'Nous n'irons plus au bois' (1909) from the 4 quatuors à voix mixtes, was claimed by Ingenhoven to be the first atonal vocal work by a Dutch composer.[1][5] The choral settings put an emphasis on intricate polyphony, derived both from Renaissance music and his contemporary Max Reger.[1]Ingenhoven also composed much chamber music, including three String Quartets, a Quintet for woodwind, a Clarinet Sonata, two Violin Sonatas, two Cello Sonatas, and various combinations of trios. His later music showed an increasing influence from French music (particularly Debussy) and a turning away from Romanticism to a more objective style.[4] In particular, the later chamber works combine his interest in polyphony with a more homophonic approach, harmonically ambiguous with long melismatic melodies of little thematic function.[3]His work as a composer was admired by contemporaries such as Matthijs Vermeulen, Willem Landré and Daniël Ruyneman,[6] but after his German period Ingenhoven himself did little to promote his compositions.[3]"

[Christo]

Hah. Certainly @Christo meant Horn Trio, "Hommage à Brahms".

No, no. What was called the "Hommage a Ligeti" was actually a re-enactment of his 1962 Poème symphonique for one hundred mechanical metronomes, Ligeti's contribution to the 'Holland Festival'. Lundi Bleu did it with 25 metronomes on their mobile phones, big fun indeed. See https://en.wikipedia.org/wiki/Po%C3%A8me_symphonique

[Der lächelnde Schatten]

No, no. What was called the "Hommage a Ligeti" was actually a re-enactment of his 1962 Poème symphonique for one hundred mechanical metronomes, Ligeti's contribution to the 'Holland Festival'. Lundi Bleu did it with 25 metronomes on their mobile phones, big fun indeed. See https://en.wikipedia.org/wiki/Po%C3%A8me_symphonique

Ah okay. Interesting. Thanks for the info.

[Symphonic Addict]

Another forthcoming release devoted to Bosmans. Available from 17 July on:

[kyjo]

Another forthcoming release devoted to Bosmans. Available from 17 July on:

Along with the forthcoming release you mentioned containing her cello concerti, this will be a very welcome release! However (as a certain YouTube music critic would say ), I do wish they could've found a more inspired cellist than Raphael Wallfisch to record these works. As much as I admire him for recording so much great lesser-known cello repertoire, I find his playing consistently uncompelling, especially with regards to his lack of variation in tone color and character in his sound. Maybe this is just my pretentious musician side showing itself, but I can't help but being critical when I feel it's warranted.

[Symphonic Addict]

Along with the forthcoming release you mentioned containing her cello concerti, this will be a very welcome release! However (as a certain YouTube music critic would say ), I do wish they could've found a more inspired cellist than Raphael Wallfisch to record these works. As much as I admire him for recording so much great lesser-known cello repertoire, I find his playing consistently uncompelling, especially with regards to his lack of variation in tone color and character in his sound. Maybe this is just my pretentious musician side showing itself, but I can't help but being critical when I feel it's warranted.

Yes, Wallfisch hardly ever stands out as a top-tier cellist, but at least he has performed very unusual repertoire that otherwise would've been unrecorded yet. He's almost like the cello counterpart of Oliver Triendl in that regard.

[Symphonic Addict]

Another interesting CPO recording to be released on 19 June:

Another very fine release. The three works are in a sort of late-Romantic style. The first cello concerto may be a bit long for its material (it lasts 38 minutes), but I thought it didn't outstay its welcome. The second cello concerto, on the other hand, contains more interesting ideas and it's more concise. The 2nd movement is particularly brilliant, what a delicious piece in itself. An excellent work overall. And last but not least, the Poème for cello and orchestra even made a stronger impression. With that powerful opening one is hooked and what comes next only confirms the high quality of the music. It intersperses mischievous passages with others more subdued and poetic as its title indicates, and all covered by a colourful orchestration. For me, the best piece of the CD.

Even though Wallfisch's tone leaves something to be desired, the performances themselves and sound quality of the recording make the pieces a very welcome input to the canon (the Poème had been recorded before, though).

All what I've heard by Bosmans has been substantial and with purpose, showcasing her as a composer of some stature.

[pjme]

This biography (Dutch only - Without music life isn't necessary) was issued in 2002...it is -of course - a more than interesting read, giving a good insight into the wondrous twists and turns of a human life.

She had a difficult life: a complicated relationship with her demanding mother, the early death of both her father and her fiancé, violinist Francis Koene, the atrocities of WWII, quite possibly her doubts about being lesbian/bi-sexual...doubts about her artistic development. Bosmans grew up in a musical family, grounded in tradition. It was Willem Pijper who introduced her to more modern techniques, musical possibilities. After the death of Koene she didn't compose for a long time.
After the war Bosmans met singer Noémie Perugia with whom she developed a close friendship that- moreover- rekindled her creativity. Apparently she also had close friendships with Benjamin Britten and Peter Pears and Matthijs Vermeulen.
Sadly that creative period didn't last long. Bosmans developed stomach cancer and died in 1952.

I'm glad that her concertante works (flute, violin, cello, piano) get new attention.

[kyjo]

Another very fine release. The three works are in a sort of late-Romantic style. The first cello concerto may be a bit long for its material (it lasts 38 minutes), but I thought it didn't outstay its welcome. The second cello concerto, on the other hand, contains more interesting ideas and it's more concise. The 2nd movement is particularly brilliant, what a delicious piece in itself. An excellent work overall. And last but not least, the Poème for cello and orchestra even made a stronger impression. With that powerful opening one is hooked and what comes next only confirms the high quality of the music. It intersperses mischievous passages with others more subdued and poetic as its title indicates, and all covered by a colourful orchestration. For me, the best piece of the CD.

Even though Wallfisch's tone leaves something to be desired, the performances themselves and sound quality of the recording make the pieces a very welcome input to the canon (the Poème had been recorded before, though).

All what I've heard by Bosmans has been substantial and with purpose, showcasing her as a composer of some stature.

I agree about the excellence of the Poème, Cesar. Recently, I listened to the recording contained here, excellently played by cellist Dmitri Ferschtman:



Also contained are Willem Pijper's typically concise and quirky Concerto, Leo Smit's intriguing and even shorter Concertino, and Hans Kox's Concerto which I haven't heard in full yet but sounds quite interesting.

[Symphonic Addict]

More Bosmans. To be released on 19 September:



Poème for cello and orchestra
Cello Concerto No. 2
Concertstück for violin and orchestra

[André]

Another very fine release. The three works are in a sort of late-Romantic style. The first cello concerto may be a bit long for its material (it lasts 38 minutes), but I thought it didn't outstay its welcome. The second cello concerto, on the other hand, contains more interesting ideas and it's more concise. The 2nd movement is particularly brilliant, what a delicious piece in itself. An excellent work overall. And last but not least, the Poème for cello and orchestra even made a stronger impression. With that powerful opening one is hooked and what comes next only confirms the high quality of the music. It intersperses mischievous passages with others more subdued and poetic as its title indicates, and all covered by a colourful orchestration. For me, the best piece of the CD.

Even though Wallfisch's tone leaves something to be desired, the performances themselves and sound quality of the recording make the pieces a very welcome input to the canon (the Poème had been recorded before, though).

All what I've heard by Bosmans has been substantial and with purpose, showcasing her as a composer of some stature.

Thanks for the review. And another great cover painting from CPO!

[kyjo]

More Bosmans. To be released on 19 September:



Poème for cello and orchestra
Cello Concerto No. 2
Concertstück for violin and orchestra

Wow, more great news! On the basis of what I've heard by her, Bosmans definitely deserves the attention she's just now receiving.