Lieuwe Visser Vidéos
artiste lyrique
Commémorations 2024 (Décès: Lieuwe Visser)
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- Royaume des Pays-Bas
- artiste lyrique, musicologue
Dernière mise à jour
2024-04-28
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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.
Les Voix Humaines George Gershwin Deak Visser 1898 1937 2020
4 Saisons, 4 Violes 4 Seasons, 4 Viols Summertime George Gershwin +••.••(...)) arrangé par / arranged by Jay Bernfeld Margaret Little, Mélisande Corriveau, Felix Deak & Susie Napper Video : Erik Visser Early Music Alberta Society 22 février / February 2020 First Presbyterian Church , Edmonton, Alberta
Johan Schmier Röntgen Bree Jong Lieuwe Visser 1970 2017
Provided to YouTube by The Orchard Enterprises Aan twee kleine lieve jongens · Johan Schmier · Johannes Röntgen · Johannes Bernards van Bree · Jasperina de Jong · Lieuwe Visser · René Eckhardt Kalm, Kalm En Andere Nederlandse Liedjes ℗ 2017 NM Classics Released on: 1970-01-01 Auto-generated by YouTube.
Kian Soltani David Popper Pieter Wispelwey Visser Netherlands Chamber Orchestra 2015 2016
During the Sneak Preview of the Cello Biënnale Amsterdam 2016 Kian Soltani played the Hungarian Rhapsody of David Popper with the Netherlands Chamber Orchestra. On Saturday, October 31 2015 the Cello Biennale took over the Muziekgebouw aan 't IJ (Amsterdam) to present a glimps of the program of the Cello Biënnale Amsterdam 2016. As 'Rising Star' Kian Soltani said: "we saw the whole history AND future of the cello in one and half hour." Cellists Kian Soltani, Ivan Monighetti Pieter Wispelwey, Anton Mecht Spronk, Annie Tangberg, Emile Visser and Thomas Prechal and bandoneon player Martin de Ruiter, the Dutch Chamber Orchestra, Percussion The Hague, the Biënnale Band and Austrian jazz-rock band BartolomeyBittmann gave a wonderful impression of what we can expect during the next Cello Biënnale. The Cello Biënnale Amsterdam 2016 will take place from October 21st - 29th 2016. Filmmaker Darren Carter made a video impression of the whole Sneak Preview: (http•••) More information: www.cellobiennale.nl www.facebook.com/amsterdamsecellobiennale
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