Henriëtte Bosmans Videos
niederländische Komponistin
Gedenken 2025 (Geburt: Henriëtte Bosmans)
- Klavier
- Königreich der Niederlande
- Komponist, Pianist
Letzte Aktualisierung
2024-05-02
Aktualisieren
Pieter Wispelwey Ed Spanjaard Alphons Diepenbrock Henriëtte Bosmans Jules Massenet Horen Een 1400 2020
Opname van de Cello Biënnale 2020 Datum: 25 oktober, 14:00 uur. Pieter Wispelwey, cello Maya Fridman, cello Rosanne van Sandwijk, mezzosopraan Score Collective Ed Spanjaard, piano en dirigent Alphons Diepenbrock - Berceuse [Wispelwey] Henriette Bosmans - Nuit Calme Jules Massenet - On dit! & Elegie Jan-Peter de Graaff - Rimpelingen [Fridman] Meriç Artaç - Falaz voor cello en ensemble [Wispelwey]* * Wereldpremière. Dit werk kwam tot stand in opdracht van de Cello Biënnale Amsterdam en het Conservatorium van Amsterdam en werd mogelijk gemaakt door het Fonds Podiumkunsten. Henriëtte Bosmans’ Nuit Calme en Alphons Diepenbrocks Berceuse behoren tot de fraaiste Nederlandse werken voor cello uit de eerste helft van de vorige eeuw. Jules Massenet arrangeerde zijn eigen orkestliederen voor cello, zang en piano. Het is geliefde muziek van Pieter Wispelwey, zangeres Rosanne van Sandwijk en pianist(!) Ed Spanjaard. We horen een andere Pieter Wispelwey in het nieuwe celloconcert dat de jonge Turks-Nederlandse componiste Meriç Artaç voor hem schreef. Maya Fridman laat in het celloconcert Rimpelingen horen waarom ze een fan is van componist en generatiegenoot Jan-Peter de Graaff, die inmiddels ook zijn tweede celloconcert aan haar opdroeg. Abonneer op dit kanaal: (http•••) / Ontdek meer van NPO Radio 4 op onze website, socials en app! ► Website: (http•••) ► Instagram: (http•••) ► Facebook: (http•••) ► App iOS: (http•••) ► (http•••) / Afspeellijsten: ► Hollandse Helden: (http•••) ► De Klassieken: (http•••) ► De Hart en Ziel Lijst: (http•••) ► Ontspanning: (http•••) ► Mooie animaties: (http•••) #NPORadio4 #Radio4 #Klassiek #zomooiisklassiek
Henriëtte Bosmans Bosman 1903 1950 1983 1992
The mezzo-soprano Noémie Perugia +••.••(...)) sings portions of Henriëtte Bosmans' setting of the Paul Fort text with Maarten Bon at the piano, and an excerpt from her 1950 performance with the composer thirty-three years earlier is included along with some commentary. This was part of a presentation of Bosman's music recorded in 1983. In the playlist linked below you will find many outstanding recordings made by this great singer as well as all the Bosmans songs she recorded fifty years earlier. Link to my Noemie Perugia playlist: (http•••) "Ils ont choisi la mer, ils ne reviendront plus, Et puis, s'ils vous reviennent, les reconnaîtrez vous? La mer les a masqués, avant de vous les rendre. On ne sait s'ils sourient, ou s'ils pleurent sous leur hâle. Et ils n'ont plus leur âme, elle est restée en mer. Que la mer est ardente, empressée au butin! Is ne reviendront plus, Ils ont choisi la mer Et puis, s'ils revenaient, seraient ils revenus? Ils ont choisi la mer.... Ils ont choisi la mer."
Gruber Ruth Schönthal Weigl Henriëtte Bosmans Rosy Wertheim 1888 1894 1895 1923 1924 1949 1952 1982 2006 2016
Verfemte Komponistinnen exil.arte bei Musica Femina Ulrike Anton, Flöte Friedemann Ludwig, Violoncello Miyuki Schüssler, Klavier Auf Basis des Gesprächskonzerts zum Thema Verfemte Komponistinnen Irene Suchy im Gespräch mit Gerold Gruber und Bettina Brand exil.arte Konzertreihe Echo des Unerhörten RadioCafé im ORF RadioKulturhaus www.exilarte.at Ruth Schönthal (1924 – 2006) “A Bird song About...” für Flöte und Klavier Vally Weigl (1894 – 1982) New England Suite für Flöte, Violoncello und Klavier III. Berkshire Pastorale Ursula Mamlok (1923 – 2016) Variations for Solo Flute Adagio [Thema] Variation 5 Dance-like Henriëtte Bosmans (1895 – 1952) Nuit Calme für Violoncello und Klavier Rosy Wertheim (1888 – 1949) Trois Morceaux for Flute and Piano
Willem Pijper Philippe Graffin Vermeulen Johan Wagenaar Hansen Diepenbrock Buys Mahler Gilse Heer Sem Dresden Sanders Bach Karel Mengelberg Mengelberg Lier Bosmans Guillaume Landré Badings Henkemans Baaren Escher Dijk Leeuw Concertgebouw 1894 1911 1915 1917 1918 1919 1920 1921 1922 1923 1925 1926 1927 1930 1938 1940 1945 1946 1947 1966
Willem Pijper +••.••(...)) Sonata No. 1 : violino e pianoforte (1919) 1. Commodo - 00:00 2. Tempo di menuetto tranquillo - 04:54 3. Quasi scherzando - 08:25 Philippe Graffin, violin Jelger Blanken, piano Willem Pijper was, with Vermeulen, the most important composer in the Netherlands in the first half of the 20th century; his teaching and writing also made a significant impact. He grew up in a working-class Calvinist milieu in a village outside Utrecht. Due to recurring bronchitis and asthma, he was educated at home until the age of 14 but then attended Gymnasium in Utrecht. Already studying the organ, he left school in 1911 to enroll in the Utrecht Toonkunst Muziekschool, where he studied composition with Johan Wagenaar and the piano with Helena van Lunteren-Hansen. His final examination, in 1915, was in theory, and he continued composition lessons privately for three more years. The family of his first wife, Annie Werker (they married in 1918), brought him social and musical opportunities in Utrecht, and he came under the influence of two older, Francophile colleagues: Diepenbrock and the critic J.S. Brandts Buys. It was Mengelbergs Concertgebouw première (April 1918) of the Mahler-like First Symphony which brought him national recognition. During 1918-1921 he taught theory at the Amsterdam Muziek lyceum and from 1917 to 1923 he wrote for the Utrechtsch Dagblad. His long, pithy reviews crusaded against complacency and amateurishess; one victim was the conductor Jan van Gilse, who resigned his post with the Utrecht orchestra in 1922 as a result of Pijpers criticisms. This incident created a nationwide furore, and his reputation as a musical essayist was assured. A radical new compositional style, confirmed in 1920 with Heer Halewijn and the Septet, made Pijper leader of the Dutch musical avant garde. He represented the Netherlands at the founding of the ISCM in Salzburg, 1922; soon after, backed by Sem Dresden, he established the Dutch ISCM section. In 1923 he met the playwright Balthazar Verhagen, and new co-productions of Greek dramas resulted, beginning with De bacchanten. Otherwise this was a difficult period. An anticipated critics post in Amsterdam failed, and he was left almost without work. An affair with his student Iet Stants ended unhappily in spring 1925, and in July he attempted suicide. He then separated from his wife and moved to Amsterdam. His prospects improved when, in September of that year, Dresden appointed him head of composition and orchestration at the Amsterdam Conservatory. In 1926 he became co-editor (with Sanders) of De Muziek, an outstanding professional journal which they ran for seven years. In the meantime he began a relationship with the author Emmy van Lokhorst; they married in 1927. Following an earlier, unsuccessful attempt, Pijper in 1930 became head of the Rotterdam Conservatory, a position he held until his death. Pijper joined a masonic lodge in 1938 and simultaneously began to practise astrology. From then and throughout World War II, he was preoccupied with gematris (a kind of numerological thinking in music which dates back to the Netherlandish polyphonists and also to Bach) and other symbolic thought. In May 1940, following the German bombardment of Rotterdam, fire destroyed his house and most of his possessions; yet copies of nearly all his compositions survived in safekeeping. He kept his conservatory alive during wartime, under very meagre conditions, and served briefly on artistic reconstruction panels after liberation in 1945. Falling ill in the summer of 1946, after the London ISCM Festival, he was diagnosed with cancer in November and died four months later. His students, including Karel Mengelberg, Stants, van Lier, van Hemel, Bosmans, Guillaume Landré, Piet Ketting, Badings, Henkemans, van Baaren, Escher, Jan van Dijk and Masséus, were prominent in Dutch musical life throughout the 1960s. For a time younger composers attacked this Pijper group (de Leeuw, 1966), but in the mid-1980s a counter-reaction occurred, and since then there have been numerous performances, and recordings, of the orchestral and chamber works and the operas Halewijn and Merlijn.
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- Zeitleiste: Komponisten (Europa). Interpreten (Europa).
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