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2024-04-23
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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
Hoketus Brussels Philharmonic Brussels Philharmonic Orchestra 2018
Provided to YouTube by NAXOS of America Concerto for Orchestra: II. Hoketus · Brussels Philharmonic Orchestra Groslot: Concerto for Orchestra & Violin Concerto ℗ 2018 Naxos Released on: 2018-08-10 Orchestra: Brussels Philharmonic Orchestra Conductor: Robert Groslot Composer: Robert Groslot Auto-generated by YouTube.
Hoketus Andriessen Loos 1976 1986 2015 2016
HOKETUS was an influential ensemble for contemporary music in Holland from 1976 -1986. On september 14th 1986 the group gave 2 farewell concerts (afternoon & evening) because it's musicians decided it was enough. It had existed 10 years. In this period the group had commissioned several composers to write pieces for them. And they had played all over the world. They were regarded highly in the international new music scene. This year it is 30 years ago that HOKETUS stopped and 40 years ago that they started. In 6 video films I reflect on the history of the ensemble and it's way of working & thinking. In the second half of the nineties of last century I organised all kinds of programs about contemporary music in a small theatre in my hometown Nijmegen in the Netherlands called O'42. Amongst these programs were live interviews I did with dutch composers combined with performances of their music. At a certain moment (I don't recall the exact date I'm sorry) my main guest was composer Huib Emmer. In our (phone-)conversations about what to do that evening Huib and I agreed to invite The Pianoduo (Gerard Bouwhuis & Cees van Zeeland) to play some of his music. This meant that there were 3 guests that all had been prominent members of HOKETUS, so I thought: wouldn't it be nice for the audience if we could show them some images of their former ensemble as part of my interview with Huib? So I went to work. To keep a long story short: when I approached CNM (= Centrum voor Nederlandse Muziek. in english Center for Dutch Music) to ask if they knew if filmed material of HOKETUS existed they -to my relief- not only were able to confirm that it did but they even said that the farewell concert of the group in 1986 was filmed and that they had these video recordings at their disposal. Wow! Well, would they be so kind to send me some of that? "No problem", was the coöperative answer and within a week I received a mailed package in which to my total surprise were 3 video-tapes (those were still the pre-internet and pre-dvd days of video folks!) with so much (edited!) material on it that there was reason to presume they had sent me the entire concert. Very impressive! A little bit strange was that I was not told to deliver it all back to CNM. And also in the aftermath of my Huib-interview there came no CNM requests of this kind. So these unique images (the 3 musicans told me they never had seen them) remained in my posession. And more strange: if this were copied versions, why then was nothing ever done with the original material? Why was it filmed & edited, but never shown to an audience? Why were these tapes catching dust in some forgotten archive to remain unseen? I decided in 2015 -when I realised we were approaching the 30th anniversary of the ensemble's end and the 40th bithday of it's start- I was going to do something myself. I knew I was not going to make a documentary. Since this is a no budget enterprise it was obvious from the beginning that there was no money to travel long distances to do archive work. film abroad, etc. The only thing that was within the realm of the possible was to take my camera's and visit some of the musicians and composers involved, interview them, and create a filmed oral history. Of course it wasn't possible to interview everybody involved. So I had to make choises who I was going to interview and who I wasn't. Which criteria should I use in deciding which ensemblemembers I was going to approach for an interview? Since HOKETUS consisted out of identical instrumentgroups it immediately seemed logical to me that I should interview one member of each instrument: percussion, bassguitar, pan pipes, piano/keyboards, sax. That I decided to choose for Paul Koek (perc), Gerard Bouwhuis (p/keyb), Huib Emmer (bass g), Patricio Wang (pan p) & Peter van Bergen (sax) was because at a certain moment this were the 5 musicians that formed an important edition of the group LOOS, and -when I started with this project- I had the assumption that maybe LOOS could be considered as a follow-up of HOKETUS (this hypothesis turned out to be incorrect very soon in the project, so I skipped it as an item of further research but then the decission for the musicians to be interviewed was already made). The composers in this project were chosen because it was their piece I had the farewell-concert-version of. These films are dedicated to all the musicians that once were members of HOKETUS and made it the internationally influential Dutch ensemble it was. Bas Andriessen october 2016 DISCLAIMER: All rights reserved to the production companies and music labels that distributed and produced the music and performance respectively. I do not own the rights to the music nor the concert footage. I uploaded this video for entertainment and creative purposes, with absolutely no financial gain. Copyright infringement not intended.
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