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]"