Theo Loevendie Vidéos
compositeur néerlandais
- saxophone, clarinette basse, saxophone soprano, piano
- jazz, musique contemporaine
- Royaume des Pays-Bas
- compositeur ou compositrice, saxophoniste, musicien ou musicienne de jazz
streaming
Dernière mise à jour
2024-04-28
Actualiser
Cello Octet Amsterdam Xenakis Gubaidulina Boulez Loevendie Kagel Arvo Pärt
Hanging D - Cello Octet Amsterdam - Joep Beving Cello Octet Amsterdam is a unique and multifaceted ensemble that has become a household name both nationally and internationally. “Eight top cellists… Total technical perfection, intensity and colourful interpretation” said the iconic magazine The Strad about them. Cello Octet Amsterdam stands for new music and works with today’s most remarkable composers, including Xenakis, Gubaidulina, Pärt, Boulez, Loevendie, Riley, Kagel, Glass and many others. The octet has performed over 70 world premieres, most of which were especially written for and dedicated to the octet. Upon hearing the premiere of his first work for the octet, Arvo Pärt, who has become a close friend of the octet, said: ” This octet is a piece of gold, I’ve discovered this ensemble ten years too late.” (http•••)
Theo Loevendie Mulder Koussevitzky Vermeulen Stravinsky Stockhausen Fats Waller 1930 1969 1971 1972 1976 1991
Theo Loevendie (1930) Music : for bass-clarinet and piano (1971) Harry Sparnaay, bass clarinet Polo de Haas, piano dedicated to Fusion Moderne The Loevendie is a Dutch composer. His musical career began in the Amsterdamse Postharmonie wind band, in which he played the clarinet. He soon started composing for bands which he formed with friends, in a jazz idiom inspired by the music of Benny Goodman, and later Parker, Gillespie and Ellington; he subsequently began to play the alto saxophone. After completing his military service he became a professional musician, formed his own quintet and gave concerts in night clubs. As a member of an international light orchestra, he travelled in the early 1950s to Turkey, where he acquired a lifelong fascination for Turkish folk music. Back in the Netherlands he decided at the age of 25 to enter the Amsterdam Conservatory, where he studied with Mulder and Orthel (composition) and Ru Otto (clarinet). He became active in improvised music, and as the leader of the Boy Edgars Big Band and later of his own Theo Loevendie Consort, he developed in the 1960s into one of the most successful Dutch jazz musicians, gaining an international reputation. After his début as a composer in 1969 with Scaramuccia for clarinet and orchestra, Loevendie gradually emerged as a leading Dutch composer. He became a lecturer at the conservatories of Rotterdam (theory and composition) and Amsterdam (composition) and in the 1970s organized informal but influential STAMP concerts (Foundation for Alternative Music Practice), in which widely differing musical genres were presented on the same evening. He received many prizes, including the Koussevitzky Award for Flexio, the Matthijs Vermeulen Prize for Naima and the 3M Prize for his entire output. He has also been active in an administrative capacity: first as chairman of the GeNeCo (Society of Dutch Composers) and then as chairman of the Fonds voor de Scheppende Toonkunst. Loevendie's late entry (at the age of 38) into the world of composed serious music with Scaramuccia was in part due to the lack of affinity he felt with the rigid intellectual aspects of serialism which, in the 1960s, governed the musical thinking of younger Dutch composers. He regarded serialism as 'an excess of rationalism' which did not offer him any points of contact. In Scaramuccia he contrasted this with music which excelled in polyrhythmic flexibility, a predilection for melodic and rhythmic ostinato motifs and a view of harmony and timbre which owed something to French music; the influence of Stravinsky was also important. Loevendie was not entirely insensitive to the prevailing musical fashions: for example, the spatial arrangement of the musicians in Orbits (1976) for solo horn and orchestra cannot be viewed in isolation from Stockhausen's Gruppen; and the construction of the earlier Aulos (1972), in which the performers are given freedom in the choice of pitch, has aleatory characteristics, although in Loevendie's case a link with improvised music is more logical. The influence of jazz is also clearly apparent from the mid-1970s on. In Strides (1976) the hypnotic repetitions of notes characteristic of Loevendie are integrated with reminiscences of the style of Fats Waller's Harlem stride piano, and in Bons (1991) an improvising soloist (preferably with demonstrable jazz credentials) is set against a chamber ensemble playing fully written-out parts.
Theo Loevendie Een Vangen Hecht Mulder Koussevitzky Vermeulen Stravinsky Stockhausen Fats Waller 1930 1969 1972 1976 1991 1998
The Loevendie (1930) Two Mediterranean dances (1998) Cello Octet Conjunto Ibérico dedicated to Conjunto Ibérico Program note (Dutch): Dit werk, dat bestaat uit twee delen die geïnspireerd zijn door muziek uit Turkije en Spanje, weerspiegelt mijn verwantschap met de verschillende vormen van volksmuziek uit beide landen. De Turkse volksmuziek ken ik al zo lang en ik ben zozeer daardoor beïnvloed in mijn muziek, dat ik iets aandurfde dat ik nog nooit daarvoor heb gedaan: het imiteren van de klank van een groep muzikanten die op Turkse instrumenten de schitterende, langzame dans spelen die luistert naar de naam Zeybek. Omdat ik deze traditionele muziek zo goed ken, heeft dit mij er hopelijk van bespaard dat dit eerste deel een goedkope imitatie is geworden. Ik hoop dat ik in staat ben geweest om tot op zekere hoogte de geest van de muziek uit deze traditie waar ik zoveel van houd te hebben kunnen vangen. Het tweede deel, genaamd Iberica, is een fantasie over een denkbeeldige Spaanse dans, zonder dat wordt verwezen naar welke specifieke dans uit Spanje dan ook. Mijn banden met de fascinerende traditionele muziek uit Spanje zijn minder hecht dan die met Turkije, dus in plaats van te proberen zo Spaans als maar mogelijk te zijn componeerde ik dit deel vanuit een zekere afstand, zelfs met een beetje ironie. - THEO LOEVENDIE The Loevendie is a Dutch composer. His musical career began in the Amsterdamse Postharmonie wind band, in which he played the clarinet. He soon started composing for bands which he formed with friends, in a jazz idiom inspired by the music of Benny Goodman, and later Parker, Gillespie and Ellington; he subsequently began to play the alto saxophone. After completing his military service he became a professional musician, formed his own quintet and gave concerts in night clubs. As a member of an international light orchestra, he travelled in the early 1950s to Turkey, where he acquired a lifelong fascination for Turkish folk music. Back in the Netherlands he decided at the age of 25 to enter the Amsterdam Conservatory, where he studied with Mulder and Orthel (composition) and Ru Otto (clarinet). He became active in improvised music, and as the leader of the Boy Edgars Big Band and later of his own Theo Loevendie Consort, he developed in the 1960s into one of the most successful Dutch jazz musicians, gaining an international reputation. After his début as a composer in 1969 with Scaramuccia for clarinet and orchestra, Loevendie gradually emerged as a leading Dutch composer. He became a lecturer at the conservatories of Rotterdam (theory and composition) and Amsterdam (composition) and in the 1970s organized informal but influential STAMP concerts (Foundation for Alternative Music Practice), in which widely differing musical genres were presented on the same evening. He received many prizes, including the Koussevitzky Award for Flexio, the Matthijs Vermeulen Prize for Naima and the 3M Prize for his entire output. He has also been active in an administrative capacity: first as chairman of the GeNeCo (Society of Dutch Composers) and then as chairman of the Fonds voor de Scheppende Toonkunst. Loevendie's late entry (at the age of 38) into the world of composed serious music with Scaramuccia was in part due to the lack of affinity he felt with the rigid intellectual aspects of serialism which, in the 1960s, governed the musical thinking of younger Dutch composers. He regarded serialism as 'an excess of rationalism' which did not offer him any points of contact. In Scaramuccia he contrasted this with music which excelled in polyrhythmic flexibility, a predilection for melodic and rhythmic ostinato motifs and a view of harmony and timbre which owed something to French music; the influence of Stravinsky was also important. Loevendie was not entirely insensitive to the prevailing musical fashions: for example, the spatial arrangement of the musicians in Orbits (1976) for solo horn and orchestra cannot be viewed in isolation from Stockhausen's Gruppen; and the construction of the earlier Aulos (1972), in which the performers are given freedom in the choice of pitch, has aleatory characteristics, although in Loevendie's case a link with improvised music is more logical. The influence of jazz is also clearly apparent from the mid-1970s on. In Strides (1976) the hypnotic repetitions of notes characteristic of Loevendie are integrated with reminiscences of the style of Fats Waller's Harlem stride piano, and in Bons (1991) an improvising soloist (preferably with demonstrable jazz credentials) is set against a chamber ensemble playing fully written-out parts.
Theo Loevendie Dorothy Dorow Ernest Bour Mulder Koussevitzky Vermeulen Stravinsky Stockhausen Fats Waller Residentie Orkest 1930 1969 1972 1976 1977 1991
Theo Loevendie (1930) Six Turkish folkpoems : for female voice and 7 instruments (1977) Dorothy Dorow, soprano Orchestra: Residentie Orkest Conductor: Ernest Bour dedicated to Dorothy Dorow The Loevendie is a Dutch composer. His musical career began in the Amsterdamse Postharmonie wind band, in which he played the clarinet. He soon started composing for bands which he formed with friends, in a jazz idiom inspired by the music of Benny Goodman, and later Parker, Gillespie and Ellington; he subsequently began to play the alto saxophone. After completing his military service he became a professional musician, formed his own quintet and gave concerts in night clubs. As a member of an international light orchestra, he travelled in the early 1950s to Turkey, where he acquired a lifelong fascination for Turkish folk music. Back in the Netherlands he decided at the age of 25 to enter the Amsterdam Conservatory, where he studied with Mulder and Orthel (composition) and Ru Otto (clarinet). He became active in improvised music, and as the leader of the Boy Edgars Big Band and later of his own Theo Loevendie Consort, he developed in the 1960s into one of the most successful Dutch jazz musicians, gaining an international reputation. After his début as a composer in 1969 with Scaramuccia for clarinet and orchestra, Loevendie gradually emerged as a leading Dutch composer. He became a lecturer at the conservatories of Rotterdam (theory and composition) and Amsterdam (composition) and in the 1970s organized informal but influential STAMP concerts (Foundation for Alternative Music Practice), in which widely differing musical genres were presented on the same evening. He received many prizes, including the Koussevitzky Award for Flexio, the Matthijs Vermeulen Prize for Naima and the 3M Prize for his entire output. He has also been active in an administrative capacity: first as chairman of the GeNeCo (Society of Dutch Composers) and then as chairman of the Fonds voor de Scheppende Toonkunst. Loevendie's late entry (at the age of 38) into the world of composed serious music with Scaramuccia was in part due to the lack of affinity he felt with the rigid intellectual aspects of serialism which, in the 1960s, governed the musical thinking of younger Dutch composers. He regarded serialism as 'an excess of rationalism' which did not offer him any points of contact. In Scaramuccia he contrasted this with music which excelled in polyrhythmic flexibility, a predilection for melodic and rhythmic ostinato motifs and a view of harmony and timbre which owed something to French music; the influence of Stravinsky was also important. Loevendie was not entirely insensitive to the prevailing musical fashions: for example, the spatial arrangement of the musicians in Orbits (1976) for solo horn and orchestra cannot be viewed in isolation from Stockhausen's Gruppen; and the construction of the earlier Aulos (1972), in which the performers are given freedom in the choice of pitch, has aleatory characteristics, although in Loevendie's case a link with improvised music is more logical. The influence of jazz is also clearly apparent from the mid-1970s on. In Strides (1976) the hypnotic repetitions of notes characteristic of Loevendie are integrated with reminiscences of the style of Fats Waller's Harlem stride piano, and in Bons (1991) an improvising soloist (preferably with demonstrable jazz credentials) is set against a chamber ensemble playing fully written-out parts.
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