Guillaume Landré Vidéos
compositeur
Commémorations 2025 (Naissance: Guillaume Landré)
- Royaume des Pays-Bas
- compositeur ou compositrice
Dernière mise à jour
2024-04-28
Actualiser
Nederlands Blazers Ensemble Rhea Landré Faber Linden Mouret
Hello :). Today, it was six years ago the UN Convention on the Rights of Persons with Disabilities came into force in the Netherlands. Also, it happened to be my birthday :D. I thought I would share this music video of "Ah! Vita Bella", covered by the Nederlands Blazers Ensemble (NBE, Netherlands Wind Ensemble) and me when we staged a musical action at the train station for equal rights and freedoms for people with disabilities back in April, as the UN Convention unfortunately has resulted in little change for the better. With this, we also heralded the start of my crowdfunding campaign 'The freedom of movement - Help me move!', to obtain financing for the assistive technologies I need for my new apartment due to my physical disabilities and power wheelchair. By now, we have reached two-thirds of the goal amount. If you can, consider to contribute through GoFundMe (http•••) Thank you! After a year of municipal procedures, I have still not been granted the necessary adaptations for my new home. I decided to take legal action and have a court hearing scheduled next week. With my crowdfunding revenues, it would be possible for me to move this summer. I also hope to be able to purchase my own electric wheelchair, so I can push my mobile street piano myself again, like I used to. I am currently not allowed to do that with the power wheelchair the municipality lends to me, which means that I cannot work independently. Read the full story on my crowdfunding page on GoFundMe. This action was not just about my own situation, but for all people who need extra health care. Last year, I already wrote an essay about this, "Living with disabilities in our society". This mini-concert was a playful follow-up. I am just one of the many people who are held back by the current policies. Many stories are never told, because people don't have the words or the energy (anymore) to tell how limited their lives are due to these policies. I want to make that sound heard, and now I was able to do that with music, thanks to the fantastic musicians of the NBE. The pieces performed were a celebration of life and zest for life, in the midst of all the obstacles, circumstances and bizarre events. Because that's what this campaign is for: so that people with disabilities, have the freedom to make something of their life and to truly enjoy life as well. In this video you can hear "Ah! Vita Bella", originally by Lucilla Galeazzi, covered by us. There is a video of both pieces on YouTube (with Al Revés - upside down -, a piece composed by Rhea Elise, featuring as the 9th track on her album: (http•••)) and a short intro by Jan Troost, an activist in this field for 50 years: (http•••) Video description: seven members of the Netherlands Wind Ensemble, my mobile street piano and I are standing in the train station of Nijmegen and making music together, set against the background of the beautiful historic red brick wall with arches. We are all wearing winter clothes, I'm also wearing gloves and a Hoodlamb hat. I am seated in an electric wheelchair with green features and wearing a blue shawl and scarf with a butterfly on it. There are spectators in a large semi-circle around us. During the second part, the other musicians gather and dance around me and my mobile piano. At the very end, there’s some footage of the first attempt, with the title “Prelude - If at first you don’t succeed”, where the steering control unit of my wheelchair falls down and almost hits the piano keys. Two people, photographer Paul Rapp and the artistic leader of the NBE, Bart Schneemann, come to set it up properly again. ~ Artists ~ Het Nederlands Blazers Ensemble (NBE, the Netherlands Wind Ensemble) Flute/piccolo - Jeannette Landré Oboe - Bart Schneemann Bass Clarinet - Jesse Faber Clarinet - Jaime Peña Martínez Saxophone - Johan van der Linden Bassoon - Marieke Stordiau Trombone - Alexander Verbeek and Piano - Rhea Elise ~ Ah! Vita Bella! ~ Original song by Lucilla Galeazzi Arranged for the NBE by Johan van der Linden ~ Coordination & support ~ Iris van Ek (producer NBE) Olga Mouret (marketing and PR NBE) Eva Beunk (NBE) Jitske Broers Anita Soede Piano Tuner - Jack van Bindsbergen Shirley Khoeblal Rhea Elise ~ Logistics ~ The Dutch Railways, Nijmegen Station (location) Dekker v.d. Vegt Booksellers (storing street piano) Henk Remie (street piano construction) ~ Video ~ Footage: Henk Moeniralam, Iris van Ek, Eva Beunk, Jan Troost and Henk Remie Edited by Rhea Elise
Willem Pijper Philippe Graffin Vermeulen Johan Wagenaar Hansen Diepenbrock Buys Mahler Gilse Heer Sem Dresden Sanders Bach Karel Mengelberg Mengelberg Lier Bosmans Guillaume Landré Badings Henkemans Baaren Escher Dijk Leeuw Concertgebouw 1894 1911 1915 1917 1918 1919 1920 1921 1922 1923 1925 1926 1927 1930 1938 1940 1945 1946 1947 1966
Willem Pijper +••.••(...)) Sonata No. 1 : violino e pianoforte (1919) 1. Commodo - 00:00 2. Tempo di menuetto tranquillo - 04:54 3. Quasi scherzando - 08:25 Philippe Graffin, violin Jelger Blanken, piano Willem Pijper was, with Vermeulen, the most important composer in the Netherlands in the first half of the 20th century; his teaching and writing also made a significant impact. He grew up in a working-class Calvinist milieu in a village outside Utrecht. Due to recurring bronchitis and asthma, he was educated at home until the age of 14 but then attended Gymnasium in Utrecht. Already studying the organ, he left school in 1911 to enroll in the Utrecht Toonkunst Muziekschool, where he studied composition with Johan Wagenaar and the piano with Helena van Lunteren-Hansen. His final examination, in 1915, was in theory, and he continued composition lessons privately for three more years. The family of his first wife, Annie Werker (they married in 1918), brought him social and musical opportunities in Utrecht, and he came under the influence of two older, Francophile colleagues: Diepenbrock and the critic J.S. Brandts Buys. It was Mengelbergs Concertgebouw première (April 1918) of the Mahler-like First Symphony which brought him national recognition. During 1918-1921 he taught theory at the Amsterdam Muziek lyceum and from 1917 to 1923 he wrote for the Utrechtsch Dagblad. His long, pithy reviews crusaded against complacency and amateurishess; one victim was the conductor Jan van Gilse, who resigned his post with the Utrecht orchestra in 1922 as a result of Pijpers criticisms. This incident created a nationwide furore, and his reputation as a musical essayist was assured. A radical new compositional style, confirmed in 1920 with Heer Halewijn and the Septet, made Pijper leader of the Dutch musical avant garde. He represented the Netherlands at the founding of the ISCM in Salzburg, 1922; soon after, backed by Sem Dresden, he established the Dutch ISCM section. In 1923 he met the playwright Balthazar Verhagen, and new co-productions of Greek dramas resulted, beginning with De bacchanten. Otherwise this was a difficult period. An anticipated critics post in Amsterdam failed, and he was left almost without work. An affair with his student Iet Stants ended unhappily in spring 1925, and in July he attempted suicide. He then separated from his wife and moved to Amsterdam. His prospects improved when, in September of that year, Dresden appointed him head of composition and orchestration at the Amsterdam Conservatory. In 1926 he became co-editor (with Sanders) of De Muziek, an outstanding professional journal which they ran for seven years. In the meantime he began a relationship with the author Emmy van Lokhorst; they married in 1927. Following an earlier, unsuccessful attempt, Pijper in 1930 became head of the Rotterdam Conservatory, a position he held until his death. Pijper joined a masonic lodge in 1938 and simultaneously began to practise astrology. From then and throughout World War II, he was preoccupied with gematris (a kind of numerological thinking in music which dates back to the Netherlandish polyphonists and also to Bach) and other symbolic thought. In May 1940, following the German bombardment of Rotterdam, fire destroyed his house and most of his possessions; yet copies of nearly all his compositions survived in safekeeping. He kept his conservatory alive during wartime, under very meagre conditions, and served briefly on artistic reconstruction panels after liberation in 1945. Falling ill in the summer of 1946, after the London ISCM Festival, he was diagnosed with cancer in November and died four months later. His students, including Karel Mengelberg, Stants, van Lier, van Hemel, Bosmans, Guillaume Landré, Piet Ketting, Badings, Henkemans, van Baaren, Escher, Jan van Dijk and Masséus, were prominent in Dutch musical life throughout the 1960s. For a time younger composers attacked this Pijper group (de Leeuw, 1966), but in the mid-1980s a counter-reaction occurred, and since then there have been numerous performances, and recordings, of the orchestral and chamber works and the operas Halewijn and Merlijn.
Willem Pijper Schoenberg Johan Wagenaar Vermeulen Hansen Diepenbrock Buys Mahler Gilse Heer Sem Dresden Sanders Bach Karel Mengelberg Mengelberg Lier Bosmans Guillaume Landré Badings Henkemans Baaren Escher Dijk Leeuw Concertgebouw 1894 1911 1914 1915 1917 1918 1920 1921 1922 1923 1925 1926 1927 1930 1938 1940 1945 1946 1947 1966
Willem Pijper +••.••(...)) Kwartet Nr. 1 : voor strijkkwartet (1914) 1. Allegro moderato - 00:00 2. Scherzo (comodo) - 04:59 3. Largo - 09:25 4. Poco agitato - 18:20 Schoenberg Quartet dedicated to Johan Wagenaar Willem Pijper was, with Vermeulen, the most important composer in the Netherlands in the first half of the 20th century; his teaching and writing also made a significant impact. He grew up in a working-class Calvinist milieu in a village outside Utrecht. Due to recurring bronchitis and asthma, he was educated at home until the age of 14 but then attended Gymnasium in Utrecht. Already studying the organ, he left school in 1911 to enroll in the Utrecht Toonkunst Muziekschool, where he studied composition with Johan Wagenaar and the piano with Helena van Lunteren-Hansen. His final examination, in 1915, was in theory, and he continued composition lessons privately for three more years. The family of his first wife, Annie Werker (they married in 1918), brought him social and musical opportunities in Utrecht, and he came under the influence of two older, Francophile colleagues: Diepenbrock and the critic J.S. Brandts Buys. It was Mengelbergs Concertgebouw première (April 1918) of the Mahler-like First Symphony which brought him national recognition. During 1918-1921 he taught theory at the Amsterdam Muziek lyceum and from 1917 to 1923 he wrote for the Utrechtsch Dagblad. His long, pithy reviews crusaded against complacency and amateurishess; one victim was the conductor Jan van Gilse, who resigned his post with the Utrecht orchestra in 1922 as a result of Pijpers criticisms. This incident created a nationwide furore, and his reputation as a musical essayist was assured. A radical new compositional style, confirmed in 1920 with Heer Halewijn and the Septet, made Pijper leader of the Dutch musical avant garde. He represented the Netherlands at the founding of the ISCM in Salzburg, 1922; soon after, backed by Sem Dresden, he established the Dutch ISCM section. In 1923 he met the playwright Balthazar Verhagen, and new co-productions of Greek dramas resulted, beginning with De bacchanten. Otherwise this was a difficult period. An anticipated critics post in Amsterdam failed, and he was left almost without work. An affair with his student Iet Stants ended unhappily in spring 1925, and in July he attempted suicide. He then separated from his wife and moved to Amsterdam. His prospects improved when, in September of that year, Dresden appointed him head of composition and orchestration at the Amsterdam Conservatory. In 1926 he became co-editor (with Sanders) of De Muziek, an outstanding professional journal which they ran for seven years. In the meantime he began a relationship with the author Emmy van Lokhorst; they married in 1927. Following an earlier, unsuccessful attempt, Pijper in 1930 became head of the Rotterdam Conservatory, a position he held until his death. Pijper joined a masonic lodge in 1938 and simultaneously began to practise astrology. From then and throughout World War II, he was preoccupied with gematris (a kind of numerological thinking in music which dates back to the Netherlandish polyphonists and also to Bach) and other symbolic thought. In May 1940, following the German bombardment of Rotterdam, fire destroyed his house and most of his possessions; yet copies of nearly all his compositions survived in safekeeping. He kept his conservatory alive during wartime, under very meagre conditions, and served briefly on artistic reconstruction panels after liberation in 1945. Falling ill in the summer of 1946, after the London ISCM Festival, he was diagnosed with cancer in November and died four months later. His students, including Karel Mengelberg, Stants, van Lier, van Hemel, Bosmans, Guillaume Landré, Piet Ketting, Badings, Henkemans, van Baaren, Escher, Jan van Dijk and Masséus, were prominent in Dutch musical life throughout the 1960s. For a time younger composers attacked this Pijper group (de Leeuw, 1966), but in the mid-1980s a counter-reaction occurred, and since then there have been numerous performances, and recordings, of the orchestral and chamber works and the operas Halewijn and Merlijn.
Willem Pijper Theo Bruins Vermeulen Johan Wagenaar Hansen Diepenbrock Buys Mahler Gilse Heer Sem Dresden Sanders Bach Karel Mengelberg Mengelberg Lier Bosmans Guillaume Landré Badings Henkemans Baaren Escher Dijk Leeuw Concertgebouw 1894 1911 1915 1917 1918 1920 1921 1922 1923 1925 1926 1927 1930 1938 1940 1945 1946 1947 1966
Willem Pijper +••.••(...)) Concerto : per pianoforte ed orchestra (1927) Theo Bruins, piano Orchestra: Rotterdam Filharmonisch Orkest Conductor: Roelof van Driesten Willem Pijper was, with Vermeulen, the most important composer in the Netherlands in the first half of the 20th century; his teaching and writing also made a significant impact. He grew up in a working-class Calvinist milieu in a village outside Utrecht. Due to recurring bronchitis and asthma, he was educated at home until the age of 14 but then attended Gymnasium in Utrecht. Already studying the organ, he left school in 1911 to enroll in the Utrecht Toonkunst Muziekschool, where he studied composition with Johan Wagenaar and the piano with Helena van Lunteren-Hansen. His final examination, in 1915, was in theory, and he continued composition lessons privately for three more years. The family of his first wife, Annie Werker (they married in 1918), brought him social and musical opportunities in Utrecht, and he came under the influence of two older, Francophile colleagues: Diepenbrock and the critic J.S. Brandts Buys. It was Mengelbergs Concertgebouw première (April 1918) of the Mahler-like First Symphony which brought him national recognition. During 1918-1921 he taught theory at the Amsterdam Muziek lyceum and from 1917 to 1923 he wrote for the Utrechtsch Dagblad. His long, pithy reviews crusaded against complacency and amateurishess; one victim was the conductor Jan van Gilse, who resigned his post with the Utrecht orchestra in 1922 as a result of Pijpers criticisms. This incident created a nationwide furore, and his reputation as a musical essayist was assured. A radical new compositional style, confirmed in 1920 with Heer Halewijn and the Septet, made Pijper leader of the Dutch musical avant garde. He represented the Netherlands at the founding of the ISCM in Salzburg, 1922; soon after, backed by Sem Dresden, he established the Dutch ISCM section. In 1923 he met the playwright Balthazar Verhagen, and new co-productions of Greek dramas resulted, beginning with De bacchanten. Otherwise this was a difficult period. An anticipated critics post in Amsterdam failed, and he was left almost without work. An affair with his student Iet Stants ended unhappily in spring 1925, and in July he attempted suicide. He then separated from his wife and moved to Amsterdam. His prospects improved when, in September of that year, Dresden appointed him head of composition and orchestration at the Amsterdam Conservatory. In 1926 he became co-editor (with Sanders) of De Muziek, an outstanding professional journal which they ran for seven years. In the meantime he began a relationship with the author Emmy van Lokhorst; they married in 1927. Following an earlier, unsuccessful attempt, Pijper in 1930 became head of the Rotterdam Conservatory, a position he held until his death. Pijper joined a masonic lodge in 1938 and simultaneously began to practise astrology. From then and throughout World War II, he was preoccupied with gematris (a kind of numerological thinking in music which dates back to the Netherlandish polyphonists and also to Bach) and other symbolic thought. In May 1940, following the German bombardment of Rotterdam, fire destroyed his house and most of his possessions; yet copies of nearly all his compositions survived in safekeeping. He kept his conservatory alive during wartime, under very meagre conditions, and served briefly on artistic reconstruction panels after liberation in 1945. Falling ill in the summer of 1946, after the London ISCM Festival, he was diagnosed with cancer in November and died four months later. His students, including Karel Mengelberg, Stants, van Lier, van Hemel, Bosmans, Guillaume Landré, Piet Ketting, Badings, Henkemans, van Baaren, Escher, Jan van Dijk and Masséus, were prominent in Dutch musical life throughout the 1960s. For a time younger composers attacked this Pijper group (de Leeuw, 1966), but in the mid-1980s a counter-reaction occurred, and since then there have been numerous performances, and recordings, of the orchestral and chamber works and the operas Halewijn and Merlijn.
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