Alexander Voormolen Vidéos
compositeur
Commémorations 2025 (Naissance: Alexander Voormolen)
- Royaume des Pays-Bas
- compositeur ou compositrice
Dernière mise à jour
2024-04-28
Actualiser
Alexander Voormolen Matthias Bamert Johan Wagenaar Roussel Ravel Casella Delius Florent Schmitt Debussy Een Residentie Orchestra 1748 1895 1915 1916 1919 1920 1923 1924 1925 1927 1928 1931 1938 1947 1955 1957 1980
Alexander Voormolen +••.••(...)) Baron Hop Suite No. 2 : for orchestra (1931) 1. Ouverture Viva Carolina - 00:00 2. Menuet Princesse Royale - 05:54 3. Air Willem V - 11:59 4. Rondo Wolfenbüttel - 17:48 Orchestra: Residentie Orchestra The Hague Conductor: Matthias Bamert dedicated to Henk Spruit Alexander Voormolen was a Dutch composer. He studied composition in Utrecht with Johan Wagenaar and with Willem and Martinus. In 1916, on the recommendation of Rhené Baton (who conducted his overture to Maeterlinck's La mort de Tintagiles at The Hague in 1916), he went to Paris, where he worked with Roussel and became close to Ravel, Casella, Delius and Florent Schmitt. He returned to settle in the Netherlands in 1920, first in Veere and moved to The Hague in 1923. For many years he was music critic for the Nieuwe Rotterdamsche Courant, and then from 1938 to 1955 he was librarian of the Conservatory of The Hague. Voormolen's first works (those from the years 1915--1925) show a chromatic harmonic style influenced by Debussy, Ravel and Delius, and also an early return to Baroque forms. In addition, after 1919 he drew increasingly on Dutch folksong, as in the piano suite Tableaux des Pays-Bas +••.••(...)). In the 1920s Voormolen searched for a more individual, typically Dutch style, one that was permeated with old tunes, the sound of the Dutch carillon, and that evoked the atmosphere and elegance of the Dutch Baroque. This resulted in such popular scores as the Baron Hop suites +••.••(...)), the orchestral variations De drie ruitertjes (1927), the concertos for one or two oboes (1938) and the symphonic poems Een zomerlied (1928), Arethuza (1947) and Eline (1957).
Johan Wagenaar Riccardo Chailly Richard Hol Samuel Lange Bach Herzogenberg Berlioz Mahler Anrooy Pijper Bernard Wagenaar Voormolen Zweers Diepenbrock Concertgebouw Orchestra Royal Concertgebouw Orchestra 1862 1885 1892 1896 1900 1904 1916 1919 1927 1937 1938 1941
Johan Wagenaar +••.••(...)) Ouverture Amphitrion : voor orkest, Op. 45 (1938) Jean Decroos, cello Orchestra: Royal Concertgebouw Orchestra Conductor: Riccardo Chailly Johan Wagenaar was a Dutch composer and teacher. He studied at the Toonkunstmuziekschool in Utrecht, taking composition lessons from Richard Hol. On graduation in 1885, he immediately began his career as a teacher there, simultaneously studying the organ with Samuel de Lange. He replaced Hol three years later as organist of Utrecht Cathedral, earning renown for his Bach performances, and in 1896 succeeded him as director of the Toonkunstmuziekschool, retaining both of these posts until 1919. In 1892 he spent a year in Berlin (studying with Herzogenberg) and Vienna. Wagenaar conducted the Toonkunst choirs of Utrecht +••.••(...)), Arnhem, Leiden and The Hague, also a male voice choir in Utrecht, often in large-scale choral or orchestral music by composers such as Berlioz and Mahler. In 1916 he received an honorary doctorate from the University of Utrecht, and in 1919 was appointed director of the Royal Hague Conservatory, where he remained until 1937. Among his composition pupils were van Anrooy, Pijper, Bernard Wagenaar, Voormolen, Enthoven and Orthel. Around 1900, together with Zweers and Diepenbrock, Wagenaar gradually re-established the role of the composer in Dutch musical life. He was active in lay musical clubs, and attempted to popularize music through humour. His cantata De schipbreuk, full of social and musical caricature, was performed widely in the Low Countries. His wit is further displayed in the cantatas De fortuinlijke kist and Jupiter Amans and two operas, De doge van Venetië and De Cid, which resort to parody and satire, emphasizing the surface sentimentality and absurdity of so many Romantic operas. Wagenaar generally composed to suit the tastes of his own generation, rather than current fashions; as a result, his late works received little attention. Those pieces which have remained in the Dutch repertory (such as the overtures Cyrano de Bergerac and De getemde feeks, and Wiener Dreivierteltakt) are programmatic or theatrical in origin. The writing shows a remarkable feeling for tone-colour, with strong overtones of Berlioz and Strauss. A serious, arguably more original aspect of his talent appears in compositions such as the symphonic poem Saul en David and the vocal scene Aveux de Phèdre. For his services to music Wagenaar was decorated six times by the Dutch Queen and twice by King Albert of Belgium: a striking contrast with his youth when, as one of six illegitimate children of a prominent aristocrat, he had known poverty and social discrimination.
Johan Wagenaar Richard Hol Samuel Lange Bach Herzogenberg Berlioz Mahler Anrooy Pijper Bernard Wagenaar Voormolen Zweers Diepenbrock Netherlands Chamber Choir 1862 1885 1892 1896 1900 1904 1916 1919 1927 1935 1937 1941
Johan Wagenaar +••.••(...)) Hymnus de ascensione Domini (1935) text by Ambrosius Choir: Netherlands Chamber Choir Conductor: Uwe Gronostay Johan Wagenaar was a Dutch composer and teacher. He studied at the Toonkunstmuziekschool in Utrecht, taking composition lessons from Richard Hol. On graduation in 1885, he immediately began his career as a teacher there, simultaneously studying the organ with Samuel de Lange. He replaced Hol three years later as organist of Utrecht Cathedral, earning renown for his Bach performances, and in 1896 succeeded him as director of the Toonkunstmuziekschool, retaining both of these posts until 1919. In 1892 he spent a year in Berlin (studying with Herzogenberg) and Vienna. Wagenaar conducted the Toonkunst choirs of Utrecht +••.••(...)), Arnhem, Leiden and The Hague, also a male voice choir in Utrecht, often in large-scale choral or orchestral music by composers such as Berlioz and Mahler. In 1916 he received an honorary doctorate from the University of Utrecht, and in 1919 was appointed director of the Royal Hague Conservatory, where he remained until 1937. Among his composition pupils were van Anrooy, Pijper, Bernard Wagenaar, Voormolen, Enthoven and Orthel. Around 1900, together with Zweers and Diepenbrock, Wagenaar gradually re-established the role of the composer in Dutch musical life. He was active in lay musical clubs, and attempted to popularize music through humour. His cantata De schipbreuk, full of social and musical caricature, was performed widely in the Low Countries. His wit is further displayed in the cantatas De fortuinlijke kist and Jupiter Amans and two operas, De doge van Venetië and De Cid, which resort to parody and satire, emphasizing the surface sentimentality and absurdity of so many Romantic operas. Wagenaar generally composed to suit the tastes of his own generation, rather than current fashions; as a result, his late works received little attention. Those pieces which have remained in the Dutch repertory (such as the overtures Cyrano de Bergerac and De getemde feeks, and Wiener Dreivierteltakt) are programmatic or theatrical in origin. The writing shows a remarkable feeling for tone-colour, with strong overtones of Berlioz and Strauss. A serious, arguably more original aspect of his talent appears in compositions such as the symphonic poem Saul en David and the vocal scene Aveux de Phèdre. For his services to music Wagenaar was decorated six times by the Dutch Queen and twice by King Albert of Belgium: a striking contrast with his youth when, as one of six illegitimate children of a prominent aristocrat, he had known poverty and social discrimination.
Alexander Voormolen Ravel Couperin 1895 1944 1947 1980
Alexander Voormolen +••.••(...)) Piano Sonata (1944) 1. Allegretto 0:00 2. Aria: Larghetto 4:53 3. Allegro vivace 9:13 Harmony in this sonata in general is more transparent than that of the earlier Voormolen works. One can find influence from Ravel (Sonatine, Le Tombeau de Couperin, Ondine). Possibly this sonata is for the memory of those lost in the war as Ravel did in Tombeau. The first movement is enigmatic and in a reclusive mood, though attempts of breakthrough are also found. A classical Aria follows. The joyful finale has much in common with the first movement and contains a light-hearted folksong-like tune in the middle section. [score] XYZ International. It has 1947 while other sources indicate that this sonata was composed in 1944. [playing] I would love to know how good pianists treat the first movement.
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