Reinbert de Leeuw Vídeos
compositor, director de orquesta y pianista neerlandés (1938-2020)
- piano
- ópera
- Reino de los Países Bajos
- director de orquesta, compositor, pianista, profesor universitario, musicólogo, profesor de música
streaming
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2024-05-05
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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 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 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
Theo Bruins Willem Pijper Beinum Ravel Debussy Mahler Toscanini Boulez Lark Leeuw Visser Johan Wagenaar Concertgebouw Orchestra 1456 1912 1916 1921 1931 1934 1937 1938 1940 1941 1943 1944 1945 1946 1947 1948 1955 1957 1958 1959 1960 1961 1964 1966 1967 1968 1969 1971 1977 1980
Rudolf Escher +••.••(...)) Arcana : suite for piano solo, Op. 9 (1944) 1. Preludio (Largo) - 00:00 2. Toccata (Presto) - 04:26 3. Ciaccona (Lento Con Grazia) - 08:48 4. Finale (Moderato Molto - Allegro Risoluto) - 14:56 Theo Bruins, piano dedicated to Luctor Ponse Rudolf Escher was a Dutch composer. From 1916 to 1921 he lived with his parents on Java, where his father worked as a geologist and mineralogist. Back in the Netherlands he studied the piano, the violin and harmony privately. At the Rotterdam Conservatory he studied the piano +••.••(...)) and composition (with Pijper, 1934--1937). Until 1940 he lived in Rotterdam, where most of his scores were destroyed during the bombing by the Germans in May of that year. During World War II Escher composed Musique pour l'esprit en deuil +••.••(...)), which was first performed in 1947 by the Concertgebouw Orchestra under van Beinum and which made him overnight the most important composer in the Netherlands. From 1945 until his death he lived in Amsterdam. After a short study at the Electronic Studio of the Delft Technical University he taught +••.••(...)) at the Amsterdam Conservatory. From 1964 to 1977 he taught theory of contemporary music at the University of Utrecht. The result of his teaching is to be found in many studies in the field of music theory and audiology. He was also a talented writer and painter, continuing to publish poetry in literary magazines until well into the 1950s. From 1945--1946 he wrote on music and art for the Groene Amsterdammer. Escher's music is lyrical, expressive and elegiac, with a great propulsive force, more French then German in its orientation (the main influences being Ravel, Debussy and Mahler). It is always basically tonal, and mostly cast in a strictly contrapuntal frame with chains of variations. Everything he wrote can be clearly discerned by the ear. In 1938 he wrote: 'The miracles of a piece of music will never be revealed, unless in a natural way, through sounding and hearing. That means sounding well and hearing well. The latter condition is a priori impossible if the former one cannot be fulfilled'. (Toscanini en Debussy). Apart from this technical aspect of composing, Escher discerned a psychic one: 'The technique of a composer is intimately related to his spiritual and intellectual self, his psyche'. This can be seen in his war compositions, such as Musique pour l'esprit en deuil, the Sonate concertante (1943) for cello and piano, Arcana (1944) for piano (originally called Arcana Musae Dona), and the first two movements of the Sonata for cello solo (1945; the third movement was completed in 1948). Each of these compositions is in a way an impressive 'document humain'. The works written immediately after 1945 do not reflect the war in the same way, but Escher's longing for peace is reflected in the 'Arcadian' choral works such as Songs of Love and Eternity (1955) and Ciel, air et vents (1957). As a theorist, Escher analysed many 20th-century scores from Debussy to Boulez, explaining the latter on the basis of Escher's own analysis of the former's music. As a composer, however, he preferred to remain true to the music of Debussy and Ravel without denying the technical implications of the music of the serialists, as in his Second Symphony (1958, revised in 1980), Wind Quintet (1967) and Monologue for flute solo (1969). In the early sixties Escher tried to extend his technique towards electronic music and serialism, but after several crises he was unable to find a technique which would allow him at the same time to remain true to his psyche. The results of this search are nevertheless interesting, and the brilliant Wind Quintet (1967) and Summer Rites at Noon for two orchestras (1971) are examples of Escher's technical and emotional powers. The sound of the Wind Quintet is dominated by the timbres of alto flute, oboe d'amore and bass clarinet. Only at the end is the alto flute replaced by a normal flute for a brilliant and exciting 'lark solo'. Here Escher combines Debussian intervallic manipulations with Boulezian structural formulae. Kernels of intervals grow into motifs and melodies through rhythmical development. The main structure consists of three movements (A1--B--A2), which are linked by two short bridges (Z1 and Z2). Each movement consists again of three segments (a--x--a), which results in six 'a' segments accelerating from Largo to Prestissimo, while at the same time the 'x' segments slow down from Moderato to Largo. The Prestissimo combines the flute's 'lark solo' with the other instruments playing Largo underneath. Escher received several prizes for his compositions, including the van der Leeuw Prize (1959) for Le tombeau de Ravel, the Visser-Neerlandia Prize (1961 and 1968) for Nostalgies and the Wind Quintet, the Willem Pijper prize (1966) for the Sonata concertante for cello and piano and the Johan Wagenaar prize for his total output.
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- cronología: Compositores (Europa). Directores de orquesta (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): L...