L.J. Andriessen Videos
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2024-05-17
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Louis Andriessen Brouwer Claron McFadden Cristina Zavalloni Casella Marcel Beekman Reinbert Leeuw Hartley Gilman Zielinski Dutch National Opera 1959 2011
00:00 Part 1 - The City of Dis, or the Ship of Fools 19:59 Part 2 - Racconto Dall'inferno 39:24 Part 3 - Lucifer 1:03:08 Part 4 - The Garden of Earthly Delights 1:19:50 Part 5 - Luce Etterna Composer: Louis Andriessen Electronic Music: Anke Brouwer Beatrice: Claron McFadden Dante: Cristina Zavalloni Lucifer: Jeroen Willems Casella: Marcel Beekman Children’s Chorus de Kickers of Music School Waterland Orchestra: Asko|Schönberg Conductor: Reinbert de Leeuw Dutch National Opera Film by Hal Hartley Editor: Kyle Gilman Robby Duiveman: Costume Design Scott Zielinski: Light Design A powerful, beautiful, and fun opera, very justly winning the 2011 Grawemeyer Award Unfortunately, the film is now out of print The libretto and translation are available here: (http•••)
Louis Andriessen Mariss Jansons Hendrik Andriessen Boulez Stravinsky Baaren Berio Guevara Schat Reinbert Leeuw Mengelberg Stockhausen Koninklijk Concertgebouworkest Hoketus Royal Concertgebouw Amsterdam Holland Festival 1939 1957 1962 1963 1965 1966 1968 1969 1972 1973 1976 1977 2013
Louis Andriessen (1939) Mysteriën (Mysteries) : for orchestra (2013) Orchestra: Koninklijk Concertgebouworkest Conductor: Mariss Jansons Commissioned by the Royal Concertgebouw Amsterdam for the Royal Concertgebouw Orchestra on the occasion of the 125th anniversary of both hall and orchestra Louis Andriessen is a Dutch composer, son of Hendrik Andriessen. After a few youthful works influenced by neo-classicism and serialism in the manner of Boulez he moved steadily away from the postwar European avant garde and towards American minimalism, jazz and Stravinsky. Out of these elements he has developed a musical language marked by extremes of ritual and masquerade, of monumentality and intimacy, of formal rigour and intuitive empiricism. The epitome of the Hague School, he is regarded as the most influential Dutch composer of his generation. Andriessen was born the youngest son of a musical family. His father and his elder brother Jurriaan, who passed on to him his musical experiences of Stravinskian neo-classicism and jazz, were his earliest mentors. Between 1957 and 1962 he studied composition at the Royal Conservatory in The Hague with Van Baaren. After receiving the composition prize there, he continued his studies with Berio in Berlin and Milan +••.••(...)). Back in the Netherlands he played an active role in the increasing politicization of the arts put into practice during the Holland Festival in 1969 with the collective work Reconstructie, a music-theatre morality based on the character of Che Guevara; the composers involved were Schat, van Vlijmen, Reinbert de Leeuw and Misha Mengelberg, all former students of Van Baaren. Later the same year Andriessen was involved in the Notenkrakersactie, the disruption of a concert by the Concertgebouw Orchestra, whose artistic policy the protesters regarded as reactionary. This controversial act has since come to be seen as a turning-point in postwar Dutch musical life. For Andriessen it led to a permanent abandonment of the medium of the symphony orchestra. Convinced that musical renewal cannot be separated from the renewal of performance practice, he set up in 1972 De Volharding ('Perseverance') to perform his composition of the same name, and similarly in 1977, Hoketus, the result of a project at the Royal Conservatory; both ensembles have gone on to stimulate extensive new repertories. Andriessen began to teach composition and instrumentation at the Royal Conservatory in 1973, and in the mid-1980s started to be in great demand as a guest lecturer, particularly in the USA. It may be tempting to regard the première of De staat in 1976 as marking the birth of the 'real' Andriessen. A typically European response to the more ethereal American minimalism of the time, it made his name internationally. It is the first work in a line of monumental, for the most part 'didactic' compositions which mark moments of synthesis and re-orientation in his output; it also unveiled Andriessen's characteristic sonorities of brass, keyboards and bass guitars. However, his output from before De staat should not be viewed merely as a preliminary stage, since in it a number of distinctive (albeit short-lived) styles and techniques are discernible, becoming marked increasingly by personal features. At the extremes stand the graphic composition Registers (1963) and the exercise in youthful sentiment Souvenirs d'enfance (1966). In Ittrospezione III (Concept I) serial methods derived from Boulez are uneasily combined with a Cageian conceptualism, though pre-echoes of De staat are occasionally apparent in the work's instrumentation and form. Contra tempus of 1968 reveals Andriessen explicitly turning away from the avant garde's rejection of the past. The montage form, the mixture of static, 'chorale' continuos of sound, traced by the composer to such variable sources as Stockhausen's Momente, Stravinsky and pre-tonality, and the big-band-like instrumentation, all point in another direction. Most of all it is Stravinsky whom Andriessen considered / 'with his hand on my shoulder' / the model; the last chord of the work is the opening one of the Symphony of Psalms. With De volharding (1972), Andriessen moved a step closer to De staat. Composed in response to American minimalism in general and to Riley's In C in particular, the musico-political convictions which have determined Andriessen's development are reflected in the title, with its reference to the ideals of the early 20th-century labour movement
Louis Joseph Andriessen Bach Brahms Nederlands Blazers Ensemble 1425 1505 1514 1857 1939 1976 2021
Composer: Louis Joseph Andriessen (June 6, 1939 – July 1, 2021) Ensemble: Nederlands Blazers Ensemble conducted by Lucas Vis 00:00 Oboes in hypnotic polyphony (01:59) Brash trombones and horns 02:53 Chorus Entry 1 over a cool mixolydian drive 04:31 A harder drive as the oboes and violas take the melody in a distant calling manner 05:52 The ostinato takes on a more menacing sound below biting clusters growing in intensity 07:52 ...climaxing into a tight funky unison 09:51 An extremely violent and thick texture (10:52) 12:28 ...resolves into warm waves of sound 15:05 The intensity and violence returns 18:57 Choir Entry 2, strict and authoritarian (21:20 great explosive power) (23:19) 26:14 Amazingly sinister texture of different mute sounds coming in and out building to 27:03 29:44 Choir Entry 3, cutting tutti chords 31:05 ...break down into a manic quasi-hocket Score available from Boosey and Hawkes: (http•••) Composer's Note: I wrote De Staat (The Republic) as a contribution to the debate about the relation of music to politics. Many composers view the act of composing as, somehow, above social conditioning. I contest that. How you arrange your musical material, the techniques you use, and the instruments you score for, are largely determined by your own social circumstances and listening experience, and the availability of financial support. I do agree, though, that abstract musical material - pitch, duration, and rhythm - are beyond social conditioning: it is found in nature. However, the moment the musical material is ordered it becomes culture and hence a social entity. I have used passages from Plato to illustrate these points. His text is politically controversial, if not downright negative: Everyone can see the absurdity of Plato's statement that the Mixolydian mode should be banned as it would have a damaging influence on the development of character. My second reason for writing De Staat is a direct contradiction of the first: I deplore the fact that Plato was wrong. If only it were true that musical innovation could change the laws of the State! I could write beautiful symphonic music, but then I'm not doing what I want to do, which is to develop a musical language which has other roots. In De Staat, you will recognize scales and pitches from Indonesian music, for example. Early bop and cool jazz have also influenced me very strongly, much more than Mozart, Bach, and Brahms. De Staat has nothing to do with Greek music, except perhaps for the use of oboes and harps and for the fact that the entire work is based on tetrachords, groups of four notes, which also explains the scoring for groups of four. ((http•••) How I make my videos: (http•••) Program I develop for this channel: (http•••)
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