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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
Liceo Casella Giandomenico Piermarini Piermarini Bucci 2014
In occasione dell'inaugurazione della nuova sede del Liceo musicale dell'Aquila, il 15 Gennaio 2014. Presenti il direttore del Conservatorio "A.Casella" dell'Aquila Giandomenico Piermarini, il Presidente della Provincia dell'Aquila Antonio Del Corvo, Dirigenti scolastici e varie autorità. Big band del Liceo musicale dell'Aquila. Video girato e montato dal prof. di Tecnologie musicali, Emiliano Bucci.
Johann Sebastian Bach Garner 1685 1701 1721 1723 1750 1760 1941 1974 1975 1979 2005 2006
Lennart Axelsson (1941) is a Swedish trumpet player who has spent a good part of his career in Germany. Born and raised in Sweden, he began his career in a Swedish armed forces band. Disillusioned with military life, he quit to become a full-time musician, playing with various jazz bands in Sweden. In the early 1970s, he moved to Zürich, Switzerland to take a job in the big band of Swiss radio station Schweizer Radio DRS. In 1974, he joined the James Last Orchestra. He was one of the featured trumpet soloists on Last's 1975 album 'In The Mood For Trumpets', along with Rick Kiefer and Ack van Rooyen; this was notable as Last's record company Polydor usually did not credit the individual personnel on Last's studio recordings. In 1979, Axelsson left the Last band and joined the NDR (Norddeutscher Rundfunk, or North German Radio) big band, where he eventually became the featured trumpet soloist. He retired from the NDR band in 2005. He plays the 'Minuet in G', BWV 114, from the 'Notebook for Anna Magdalena Bach'. Johann Sebastian Bach +••.••(...)) was a German composer, virtuoso organist, harpsichordist, music teacher, conductor and choirmaster of the late Baroque period. He is considered one of the greatest composers of all time. Anna Magdalena Bach +••.••(...)) was a professional singer and the second wife of Johann Sebastian Bach. He wrote two manuscript notebooks for her, which were published as one, the 'Notebook for Anna Magdalena Bach'. Keyboard music (minuets, rondeaux, polonaises, chorales, sonatas, preludes, musettes, marches, gavottes) makes up most of the notebook, and a few pieces for voice (songs and arias) are included. The Notebook provides a glimpse into the domestic music of the 18th century and the musical tastes of the Bach family. Life must have been difficult for Anna Magdalena. When she entered the Bach household, she gave birth almost every year for 13 years. Seven of her offsprings did not survive, but her surviving children included their celebrated son, Johann Christian, who was described as 'the apple of Bach's eye and his favorite pupil'. Moreover, the Bach house was a musical hub in Leipzig at the time, and many guests frequented the house. Not only did the lady of the house prepare to take care of her guests' wellbeing during their visits, she also organized numerous musical evenings for the family and visitors. As a professional singer in the Cöthen Court Chapel between 1721 and 1723, performing alongside her husband, she helped garner almost half of the household annual income, earning 200 thalers at first, which was then increased to 300 thalers subsequently, granted by the Prince. Her role in Johann Sebastian's life also involved being his copyist, preparing fair copies of most of his vast musical work. With views of Leipzig, Germany. Recorded in the album 'Trompeten-Träume (Trumpet Dreams) - The Golden Trumpet' (2006).