Karlheinz Stockhausen Adieu, Op. 21 Video
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2024-04-16
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Ruyneman Jong Zweers Groningen Boulez Stockhausen Henze Leeuw Schat Grieg Skryabin Debussy Ravel Musorgsky 1886 1913 1916 1917 1918 1923 1927 1930 1931 1938 1941 1951 1952 1959 1961 1962 1963
Daniel Ruyneman +••.••(...)) Trois chansons des maquisards condamnés : pour baryton ou alto et piano (1951) 1. Sous le ciel immobile (text by: Pierre Algaux) - 00:00 2. Quelques enfants (text by: Pierre Vielhomme) - 03:13 3. Adieu (text by: Nazim Hikmet) - 09:15 John Riley, baritone George van Renesse, piano Daniel Ruyneman was a Dutch composer. From 1913 to 1916 he studied at the Amsterdam Conservatory with De Jong (piano) and Zweers (composition). With Dresden and Zagwijn he set up the Dutch Society for the Advancement of Modern Music (1918) in order to draw attention to a young generation of composers through concerts. This society was absorbed by the later Dutch section of the ISCM (1923). In the 1920s he worked in Groningen, where he maintained close contacts with the group of Expressionistic artists known as 'De Ploeg' [The Plough]. Back in Amsterdam he set up the Dutch Society for Contemporary Music (1930), a concert society which he directed until 1962. He was also editor-in-chief of the society's journal Maandblad voor hedendaagsche muziek +••.••(...)). In 1931 he became general secretary of the Permanent Commission for International Exchange Concerts set up by him and the Austrian composer and conductor Hans Pless, an organization to promote performances of new music in Europe and in the USA. From 1952 until his death he organized a highly original series of concerts in the Amsterdam Stedelijk Museum. He championed composers such as Boulez, Stockhausen, Henze, Ton de Leeuw and Schat with the controversial 'Experimental Music' series +••.••(...)). Ruyneman's earliest works are influenced by Grieg, Skryabin and above all Debussy and Ravel. The Chineesche liederen (1917) represent a breakthrough in his search for an idiom of his own. His music acquires a quasi-improvisational character and from the harmonic point of view the structure is determined by accumulations of 5ths. In 1918 he put himself in the forefront of the Dutch musical avant garde with two works: Hiëroglyphen, a composition for an ensemble with a colourful and unusual strength, and De roep, for chamber choir a cappella, in which no text but various vowels and consonants are sung. He continued the development of the idea of vocal colour polyphony in the Sonata for Chamber Choir (1931). From the middle of the 1920s he focussed less explicitly on the exploration of sound and more on melodic-linear and formal aspects, for example in the chamber Divertimento (1927). During this period he also composed the opera De Karamazovs after Dostoyevsky and orchestrated and completed Musorgsky's The Marriage. Distinctly neo-classical tendencies are manifested chiefly in the 1930s and 40s, for example in the Partita for string orchestra and the Nightingales Quintet for wind. Evidence of the interest he developed in the last few years of his life in serial technique is contained in his four Réflexions +••.••(...)) for chamber music ensembles in various strengths. He is the author of De componist Jan Ingehoven (Amsterdam, 1938).
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