Etienne Siebens Videos
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2024-05-02
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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.
I Solisti Vento Red Note Ensemble Desingel Etienne Siebens Verhulst Francis Pollet Pollet 2016
SNAPSHOT@deSingel 3.11.2016 Jan Decleir, I Solisti del Vento, Red Note Ensemble & Song Circus Freedom o(r) Speech muzikale uitvoering Jan Decleir I Solisti del Vento Red Note Ensemble Song Circus muzikale leiding Etienne Siebens tekst Dimitri Verhulst concept Francis Pollet
Symfonieorkest Vlaanderen conductor : Etienne SIEBENS Instruments Piccolo - Flute - Oboe - English Horn - Clarinet - Bass Clarinet (also Clarinet) - 2 Bassoons 2 Horns - 2 Trumpets 2 Percussionists : 10 Violins I - 8 Violins II - 6 Violas - 6 Violoncellos - 4 Double Basses (at least 2 with C-string or E-string tuned down to C) Program Note This work will be composed in 2004 on commission of the Symfonieorkest van Vlaanderen. They first performed it at the Brussels Conservatory on February 24, 2005 conducted by their chief-conductor Etienne Siebens "Along the Shores of Lorn" are the first words of the "explanation" on the back label of the bottles which contain "OBAN". The work takes its basic ideas from that piece, but will be like a "firework" coming out of the rocket which 'OBAN' originally was. The piece is in one part, but consists of four sections. The work begins with an introduction based on flageolet-tones in the strings, along with a kind of split pseudo-unisson melody. This is followed by a fairly long, rapid passage in what I would call "(des)-articulated counterpoint". The third section is extremely slow (maybe a huge breath?) and mainly deals with "special" timbres, which are amplified and permutated compared to 'OBAN'. A duo for the two trumpets on a repeated pulse leads to the coda, which is (much) longer than the one of the "fellow-piece", is incredibly fast and features the virtuosity of the orchestra in an almost breath-taking way. Finally the Bass Drum concludes the piece alone, as he started. I dedicated the score to artist Mark Verstockt in friendship and admiration for the intenstity and extremely high quality of his works. I also felt very close to him when we discussed our mutual approach towards our creative "jobs". The works in the video are by Mark Verstockt.
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