Karlheinz Stockhausen Momente, Op. 13 Videos
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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
Martina Arroyo Verdi Puccini Handel Mozart Karl Böhm Sir Colin Davis Beethoven Rossini Maschera Mahler Schoenberg Karlheinz Stockhausen Samuel Barber Wagner Ponchielli Leontyne Price Zurich Opera Scala Covent Garden Teatro Colón Deutsche Oper Berlin Vienna State Opera Metropolitan Opera Lyric Opera Chicago San Francisco Opera 1937 1963 1965 1978 1989 1991 2000
Martina Arroyo (born February 2, 1937) is an operatic soprano of Puerto Rican and African-American descent who had a major international opera career during the 1960s through the 1980s. She was part of the first generation of black opera singers to achieve wide success and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world. Arroyo first rose to prominence at the Zurich Opera between 1963--1965, after which she was one of the Metropolitan Opera's leading sopranos between 1965 and 1978. During her years at the Metropolitan Opera she was also a regular presence at the world's best opera houses, performing on the stages of La Scala, Covent Garden, the Opéra National de Paris, the Teatro Colón, the Deutsche Oper Berlin, the Vienna State Opera, the Lyric Opera of Chicago, and the San Francisco Opera to name just a few. She is best known for her performances of the Italian spinto repertoire and in particular her portrayals of Verdi and Puccini heroines. Her last opera performance was in 1991, after which she has devoted her time to teaching singing on the faculties of various universities in the United States and Europe. Having performed in the major opera houses and with the greatest symphony orchestras of the world, she has left a legacy of recordings, including: Handel's Judas Maccabeus (twice) and Samson, Mozart's Don Giovanni (Donna Elvira for Karl Böhm and Donna Anna for Sir Colin Davis), Beethoven's Missa solemnis and Ninth Symphony, Rossini's Stabat mater, Verdi's Un ballo in maschera, La forza del destino (in both the St. Peterburg and revised versions), and the Messa da requiem and Mahler's massive Eighth Symphony (the Symphony of a Thousand). She has also recorded important 20th century music, including Schoenberg's Gurre-Lieder and Carlo Franci's African Oratorio and two works she "created" in their world premieres: Karlheinz Stockhausen's Momente and Samuel Barber's Andromache's Farewell. Arroyo's discography (which also includes an aria recital), though enviable, does not encompass anything like the full range of roles she essayed onstage. At the Metropolitan Opera alone, these are the operas she performed but never recorded commercially: Verdi's Ernani, Macbeth, Il trovatore, Don Carlos (the Celestial Voice as well as Elizabeth, both in Italian), and ; Wagner's Lohengrin and Der Ring des Nibelungen (featured roles in all four operas); Ponchielli's La Gioconda; Giordano's Andrea Chénier; and Puccini's Madama Butterfly and Turandot (as Liù; she played the title role in Toronto). Since her official retirement from singing in 1989 Martina Arroyo has amassed significant teaching credits. She was elected a Fellow of the American Academy of Arts and Sciences in 2000. She was candid about her perceived status as second-best to her great contemporary, fellow African-American spinto Leontyne Price; once, when a Met doorman greeted her as "Miss Price", she sweetly replied, "No, honey: I'm the other one."... (http•••) Lyrics & English Translation Macbeth, you are an ambitious man. You want to be great, but will you be wicked? The way to the power is full of crimes, And plague on him That begins that way doubting and then goes back. Come on! Hurry up! I will fire your cold heart! I will make you able To complete the bold undertaking. The witches promise you The Scottish throne... What are you waiting for? Accept this gift! Ascend it and reign! Now arise, All you, Ministers of hell, Who incite, Spur mortals to bloodshed! You, rightfully... Enshroud us with thick darkness! Let the dagger not see the breast it strikes, etc. Now arise all! A link to this wonderful artists personal Website: (http•••) Please enjoy! I send my kind and warm regards,
Louis Andriessen Brouwer Claron McFadden Cristina Zavalloni Marcel Beekman Schönberg Reinbert Leeuw Hendrik Andriessen Boulez Stravinsky Baaren Berio Guevara Schat Mengelberg Stockhausen Holland Festival Concertgebouw Orchestra Hoketus 1939 1957 1962 1963 1965 1966 1968 1969 1972 1973 1976 1977 2004 2008
Louis Andriessen (1939) La Commedia : Film opera in five parts +••.••(...)) with electronic music inserts by Anke Brouwer texts by Dante and Vondel and from the Old Testament Part 1: The City of Dis, or the Ship of Fools - 00:00 Part 2: Racconto Dall'inferno - 20:20 Part 3: Lucifer - 39:48 Part 4: The Garden of Earthly Delights - 1:03:55 Part 5: Luce Etterna - 1:20:41 Claron McFadden, soprano Cristina Zavalloni, voice Jeroen Willems, voice Marcel Beekman, tenor Children’s Chorus de Kickers of Music School Waterland Ensemble: Asko|Schönberg Conductor: Reinbert de Leeuw 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 Andriessen Schönberg Reinbert Leeuw Hendrik Andriessen Boulez Stravinsky Baaren Berio Guevara Schat Mengelberg Stockhausen Asko Ensemble Hoketus Holland Festival Concertgebouw Orchestra 1939 1957 1962 1963 1965 1966 1968 1969 1972 1973 1976 1977 1980 1981
Louis Andriessen (1939) De Tijd (Time) : for female choir and large ensemble +••.••(...)) Asko Ensemble & Schönberg Ensemble conductor: Reinbert de Leeuw 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.
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