grupo musical
Conmemoraciones 2025 (Formación: Asko Ensemble (Ámsterdam))
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- Ámsterdam
- Países Bajos
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2024-05-02
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Louis Joseph Andriessen Reinbert Leeuw Susan Narucki Susan Bickley Vries Barbara Hannigan Sweelinck Witt Asko Ensemble Dutch National Opera 1003 1603 1939 1940 1998 2021
Composer: Louis Joseph Andriessen (June 6, 1939 – July 1, 2021) Electronic inserts by: Michel van der Aa Libretto: Peter Greenaway Orchestra: Schönberg Ensemble and Asko Ensemble conducted by Reinbert de Leeuw Catharina Bolnes, Vermeer's Wife: Susan Narucki Maria Thins, Vermeer's Mother-in-Law: Susan Bickley Saskia de Vries, Vermeer's Model: Barbara Hannigan Chorus: Dutch National Opera 00:00 Scene 1: Vermeer is away in The Hague. 03:09 Catharina's first letter to Vermeer: Saskia is returning to her home in Dordrecht. 06:12 Maria's first letter to Vermeer: She asks him to return soon. (7:53) Insert: "Violence" 08:17 She describes how the family misses Saskia (8:45) 10:03 And when Johannes met Catharina. 11:15 Catharina gave Saskia a shawl, once a gift from Johannes. 13:16 End of the letter: Catharina will write tomorrow about Cornelia's birthday. (14:19) Signatures 16:03 Scene 2: Cornelia's Birthday 19:40 Catharina's and Maria's second letters: Cornelia has turned 9. Maria is trying to have Saskia come back. (22:01) Insert: "explosion" 22:33 Catharina talks about the children: Gertruyd cut her hair to send to Saskia to get her to come back. 24:10 Maria describes her plan to get Saskia back. 25:50 Saskia's first letter to Johannes: she has arrived safely in Dordrecht. 29:36 Catharina and the family are excited for Johannes's return (30:27) Signatures 31:28 Scene 3 - 1 33:51 2 36:15 3 - Cornelia has swallowed varnish. (37:24) Chorus: Maria has bought ultramarine for Johannes. 38:37 4 - Duet of Maria and Saskia: Catharina is displaying symptoms of pregnancy. 41:03 5 - Catharina: Cornelia is sick from the varnish. 43:19 6 - Saskia: the baby will be a boy because of the blue Catharina is wearing. 45:46 7 - Maria: Catharina seems sicker this time. 48:04 8 - Saskia's signature (49:51) Catharina's signature 50:42 Scene 4 - 1 - Saskia's second letter: she asks how the children are doing 52:57 2 - Catharina worries about the family's finances. (54:23) Insert. Maria comments on the women in Johannes' paintings. 55:34 3 - Maria: "It's all women that you paint." (57:04) (57:35) Insert 58:24 4 - Catharina writes about how much they miss Johannes, and about their future. 1:00:49 5 - French invasion (1:02:13) Insert: "interruption streetfights" 1:03:16 6 - Saskia sings Sweelinck's "Mein junges Leben" 1:04:43 7 - "My mother bought me some music sheets..." (1:06:14) Maria sees Catharina writing 1:07:02 8 - Maria: "You paint us all writing so often." (1:07:47) Saskia tried to convince her father to visit cousins who live near Johannes. 1:08:58 Scene 5 - A little dance with the children 1:12:05 Catharina's fifth letter: a family outing at the fortifications (1:14:30) Insert: "halberds savagery" 1:15:14 Saskia: Her father introduces her to a potential suitor. (1:16:15) Joachim and Abraham show up to meet Saskia as part of Maria's plan. 1:17:34 Saskia's outing with Abraham. Maria hopes her plan is working. (1:19:24) Insert: "riots in snow" 1:20:08 (1:21:03) Maria: Saskia is coming back. (1:22:23) "Come back, Saskia." 1:23:35 Scene 6 1:26:21 Catharina and Maria's final letters: Johannes is coming home soon 1:28:31 Catharina worries what would happen if Johannes never came back (1:29:20) Insert: "The murder of Johan de Witt" 1:31:08 Catharina: "I would buy myself a mirror." Maria tells him about the gifts the children have made for his return. 1:33:24 They ask Johannes to come back quickly. (1:35:14) Maria's signature 1:35:40 A knock at the door 1:37:06 Saskia's final letter: she is coming back. (1:38:31) Saskia and Catharina are excited to see Johannes again. 1:39:14 Catharina's and Saskia's signatures. A flood envelops the city. Score available here: (http•••)
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.
Edgard Varèse Riccardo Chailly Carlos Chávez Prick Blades Asko Ensemble 1923
Octandre, for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, and double bass (1923) I. Asses lent II. Très vif et nerveux III. Grave / Animé et jubilatoire ASKO Ensemble Riccardo Chailly Varèse often insisted that music is both a science and an art. With his ingeniously inventive orchestration in mind, through which he put many sounds into the world that had never existed before, perhaps he should have summed it up as "alchemy"; he certainly did love the symbolism of arcane religions. Octandre is a brilliant, purely technical study of the inexplicable abracadabra of sound that Carlos Chávez rightly called gold. With this accomplishment, Varèse moved significantly closer to his ideal of a purely material music of "spatial projection." But although Octandre could be by no other composer, it is unlike Varèse's other works in a couple of significant ways. The piece is in three movements, labeled according to tempo / Assez lent, Très vif et nerveux, Grave-Animé et jubilatoire. Each opens with a different instrument to announce its particular character / oboe, piccolo, and bassoon / and is essentially a revisitation of the same structural concepts from a unique angle. More significant, however, is the absence of percussion, which usually forms the very core of his sound. Anyone familiar with his other pieces so feels the absence that their ears prick up every couple of beats expecting percussion noise, as if the violent drums are only waiting in ambush. By the time of Octandre, 1923, he'd already composed several pieces / Amériques, Offrandes, Hyperprism / that extensively used percussion. Sonic researcher that he was, he perhaps wanted to test his ability to work without his favorite tools and so, deliberately limited himself. He knew such an exercise could only increase his knowledge and bring him that much closer to realizing the mysterious, unheard-of music of his waking visions. And so it did. Varèse did not, however, abandon his usual aesthetic in Octandre: the winds, brass, and double bass are conspicuously made to fill in, against their instrumental natures, for the absent percussion. They're often used only to articulate nervous rhythmic motifs that unexpectedly accumulate from solo passages into massive, weapon-like pounding in shattering, prismatic colors. Wherever somewhat extraneous melodic lines surface, usually in lonely solo passages, they get pureed before long in the blades of emphatic rhythm, especially in the clamor of the shimmering brass that comes in like the attacking sword of an imaginary sun god. [allmusic.com] Art by Felix Pasilis
Edgard Varèse Riccardo Chailly Martenot Theremin Chou Wen Chung Slonimsky Falcon Asko Ensemble 1883 1932 1934 1965 1997
Edgard Varèse +••.••(...)) - Ecuatorial +••.••(...)) Kevin Deas, bass ASKO Ensemble, Riccardo Chailly (1997) Ecuatorial is a work for bass, brass, percussion, piano, organ, and ondes Martenot. It sets a text from the Popol-Vuh, translated to Spanish by Father Jimines. "Edgard Varèse completed Ecuatorial in 1934, a work for orchestra, bass singer, electronic instruments, and an augmented percussion section. This is one of the few works by Varèse that was inspired by something extra-musical. For the most part, his titles came to him only after he was well into the writing of a composition. In this case, a book by the composer's friend got him interested in capturing some of the atmospheres within the text. The book, Legends of Guatemala, is by Guatemalan author Miguel Angel Asturias, who had also written an admiring article about the composer. When the French translation of the book appeared in 1932, Asturias sent Varèse a copy, who was struck by the inclusion of Mayan holy texts, taken from the Popol-Vuh, which inspired the composer. It was a specific supplication prayer from these excerpts that he decided to set to music, but, because his own command of Spanish was strong, he chose to work with that language rather than the French translation. In Ecuatorial, the composer was after the elemental spiritual health of the text's message and the sense of tragedy at its intended audience's downfall as a civilization. It is a prayer requesting peace, a good harvest, and children. A direct, ancient feel was also part of what he wanted to capture in the manner of a dramatic incantation. During its composition, Varèse relocated to the United States, after a few years moved again to Paris. The orchestration of Ecuatorial was frequently revamped. At first, the voice was scored for a chorus of bass voices, or a solo bass voice performed through a megaphone. Both approaches were considered before the non-amplified solo voice was settled on. Just as crucial to the voices was the scoring for electronic instruments. This also went through different versions, as the composer waffled between the use of the Ondes Martenot and the theremin. The problem was in finding an instrument that would work properly, which was difficult in the 1930s because the instruments were still in their infancy. In an important edit by the composer's long-time friend and associate Chou Wen-Chung, one Ondes Martenot and one theremin were decided as the ideal combination, taking into consideration the peculiarities of the work's orchestration and the improvements of both instruments since the death of Varèse in 1965. The most immediate benefit of these electronic instruments is that they can produce higher notes than even the piccolo. Another is the connotation of the purity of electronic sound, which amplifies the primitive, rough-hewn quality of the vocal line. The overall impression depicts a pre-Columbian sculpture, majestic and mysterious, and with a fecund spirituality. The first performance of Ecuatorial took place on April 15, 1934, in New York. Town Hall was the venue, Slonimsky conducted, and the soloist was Chase Baromeo. Generally, the audience and critics were baffled, and there was no subsequent performance for the next twenty-five years. It is not a frequently performed work, but it successfully captures the complex quality of ancient, exotic prayer that the composer was after, to a sublime extent. Many listeners feel that Ecuatorial does credit to both twentieth-century music and the text, and this successful juxtaposition of an ancient holy text and electronic sound renders the music timeless and eternal. This work was dedicated the composer's wife, Louise." Invocation of the Popol-Vuh, in English: O Builders, O Moulders! You see. You hear. De not abandon us, Spirit of the Sky, Spirit of the Earth. Give us our descendants, our posterity as long as there are days, as long as there are dawns. May green roads be many, the green paths you give us. Peaceful, very peaceful may the tribes be. Perfect, very perfect may life be, the existence you give us. O Master Giant, Path of the Lightning, Falcon! Master-magi, Powers of the sky, Procreators, Begetters! Ancient Mystery, Ancient Sorceress, Ancestress of the Day, Ancestress of the Dawn! Let there be germination, let there be Dawn. Hail Beauties of the Day, Givers of Yellow, of Green! Givers of Daughters, of Sons! Give life, existence to my children, to my descendants. Let not your power, let not your sorcery be their evil and their misfortune. May it be happy, the life of your upholders, your providers before your mouths, before your faces, Spirit of the Sky, Spirit of the Earth, Give Life, Give Life! Give life, O All-Enveloping Force in the Sky, on the earth, at the four corners, at the four extremities, as long as dawn exists, as long as the tribe exists. The Spanish text: www.lieder.net/get_text.html?TextId=121111 (source: AllMusic) Original audio: (http•••)
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- Conjuntos (Europa).
- Índices (por orden alfabético): A...