Dutch music

[PlattitüdenPaule]

[coolfrenchguy]

dutch english singing band BORN TO BLISS



Born For Bliss - Innocent: Frank Weyzig (vocals/guitar), Remco Helbers (bass), Willem van Antwerpen (drums) featuring Lori Sloan - backing vocals







it seems than maybe Grendel is dutch,as they are credited to be dutch national, but UK based moving later in the US at least Josselin D. Tucker ,the lead singer looks dutch,but i'am bit skeptical,but they are probably dutch with a very good english,at least better than germans



one of the Grendel masterpiece :



When there is disappointment
A life disjointed, left out here in the rain
Ill-affected, misdirected
Yet so genuine all the same

While there is truth in anger
That desperate clamber
The progress through the pain
Sometimes ideals die and havoc cries
As wisdom fall from grace

Imagine the impossible
Expect the inconceivable
Prepare for the deplorable
Enforce the indestructible

[Chorus]
'Cause it will happen here
Every fifty to a hundred years
When our hearts grow cold
And the fear takes hold
It will happen here
Every fifty to a hundred years

When there is mass confusion
Rising delusion escaped from reality
Ill-affected, misdirected
Yet so genuine all the same



While there is truth in anger
That desperate clamber
The progress through the pain
Sometimes ideals die and havoc cries
As wisdom fall from grace

Imagine the impossible
Expect the inconceivable
Prepare for the deplorable
Enforce the indestructible

[Chorus]

[Your Old Comrade]

The national anthem. The Wilhelmus, as it would have been sung during the Dutch Revolt

Opgenomen in Delft door Messa di Voce, koor voor Oude Muziek. Op een muziekzetting uit 1607.

[Your Old Comrade]

[Your Old Comrade]

[Your Old Comrade]

UNICO WILHELM GRAAF VAN WASSENAER
[Erroneously attributed to G. B. Pergolesi]

CONCERTO ARMONICO POUR MR. RICCIOTTI N. 1
for strings and basso continuo in G major
[The Hague, 1740]

I. Grave - 0:05
II. Allegro - 2:03
III. Un poco andante - 5:04
IV. Allegro - 8:40

[Your Old Comrade]

Paula Bär-Giese - soprano
Hans Meijer- lute

Music of Adriaen Valerius (1570/1575 - 1625), woonende ter Veer in Zeeland

1 - Neemt my inder hand

2 - Pavana Philippi
DIRCK VAN DELEN & PIETER CODDE - BOYMANS VAN BEUNINGEN
PIETER CODDE - PHILADELPIA MUSEUM OF ART

3 -’t Windeken daer den Bosch afdrift & Pieter Codde - Millibe
PIETER CODDE-BRISTOL MUSEUM / VIENNA Gemäldegalerie der Akademie der bildenden Künste

4 - Comedianten dans / Merck,,toch hoe sterck,,
PIETER CODDE - MAURITSHUIS DEN HAAG

5 - Fortuyn & Vondel - Op het Stokje van Johan van Oldenbarnevelt

6 - Wilhelmus van Nassouwe - Dutch National Anthem
RIJKSMUSEUM AMSTERDAM

Joan Blaeu 1649 -Toonneel der Steeden - STADSKASTEEL ZALTBOMMEL
Joan Blaeu (23 September 1596 – 21 December 1673) was a Dutch cartographer born in Alkmaar, the son of cartographer Willem Blaeu.
In 1620, he became a doctor of law but he joined the work of his father. In 1635, they published the Atlas Novus (full title: Theatrum orbis terrarum, sive, Atlas novus) in two volumes. Joan and his brother Cornelius took over the studio after their father died in 1638. Blaeu became the official cartographer of the Dutch East India Company.

Around 1649, Blaeu published a collection of Dutch city maps named Toonneel der Steeden (Views of Cities).

Blaeu's map was copied for the map of the world set into the pavement of the Groote Burger-Zaal of the new Amsterdam Town Hall, designed by the Dutch architect Jacob van Campen (now the Amsterdam Royal Palace), in 1655.

Adriaen Valerius probably wrote his Nederlandtsche Gedenck-clanck during the years 1620-1624. It is not likely that his death on 27 January 1625 brought a sudden end to his manuscript, for the text does not seem to break off. The Nederlandtsche Gedenck-clanck is not a song book, but a history book chronicling the so-called Eighty Years' War between the Low Countries and Spain.

Nevertheless Valerius interrupted the text at no less than 76 points to include a song, together with pieces for the lute and cittern on the same melodies. The main sources of Valerius' notation of the melodies seem to include the Dutch song book Friesche Lust-hof, original polyphonic music by Dowland and Gastoldi , and instrumental works from The First Booke of Consort lessons by Thomas Morley. Many versions of the melodies would have circulated in manuscript, and only a fraction has survived. It would seem out of the question that all Valerius' sources can ever be traced. The lute settings are not intended as accompaniments but as independent instrumental pieces.

Valerius gathered them from various instrumental sources. Only two concordant settings could be traced, and these were found in a manuscript-the Thysius Lute Book - which most probably could not have been consulted by Valerius. The notation of the concordant pieces in the two sources must have been based on a common source which can no longer be traced. In 22 other cases, however, related settings were found in several sources, making it clear that we are dealing with notations of pre-existing lute settings. In a few cases Valerius was apparently unable to find a suitable setting and therefore supplied one from his own hand or that of a musical friend. In seven cases the pieces deviate so much from parallel settings that we may presume Valerius to be the composer.

Moreover, these settings are very similar to the cittern pieces, of which I presume Valerius (or an associate) to be the composer. The musical example on pages 143-144 demonstrates the concordance of melody, lute and cittern settings of the song Merck toch hoe sterck (no. 64), a concordance which lends unity to this group of seven songs. The assumption that the cittern settings were the work of Valerius or a musical adviser is based upon the fact that in all cases the melody notated by Valerius has been strictly followed; if these settings had been made separately like most of the lute settings, this would surely not have been the case.

Paula Bär-Giese - soprano & Hans Meijer lute
1-Pieter Codde - Waerom vlucht ghy Millibe
2-Joachim van den Hove - Soet Robert
3-Nicolaes Vallet - Onder de linde gróne
4-Nicolaes Vallet - Pavanne de Spagne
5-Een kind geboren in Bethlehem
6-Thomas Campion - Comedianten dans. (Masque dance)
7-Anonymous - Schoenlapperken
8-Joachim van den Hove - Griesliefs

Pieter Jacobsz Codde (1599-1678) produced several history works and a considerable number of portraits. In 1637, he finished the so-called Meagre Company, now in the Rijksmuseum, an Amsterdam militia piece begun by Frans Hals (1582/83-1666) in 1633. He was particularly prolific during the 1620s and the 1630s, rarely signed after 1645, but remained active as a painter in the 1650s.

Codde was active in both artistic and literary circles. In 1627, the poet and playwright Elias Herckmans (c. 1596-1644) dedicated his tragedy Tyrus to the artist, inspired by Codde’s now lost painting of the subject. In 1633 Codde’s own poem of pastoral love ‘Waerom vlucht ghy Millibe’ was published in the volume of poetry Hollands Nachtegaeltien.

“Pieter Codde, tuning his lute” painting, a splendid, early example of a studio scene, has only recently been rediscovered.
In addition to the newfound signature – a full signature ‘PCodde 162[9?]’ discovered on the easel’s cross bar – the painting’s recent restoration has brought about some notable changes. The work depicts a painter in his wooden floored studio, seated in front of his easel, on which we see a blank canvas on a stretcher. Seated on a chair, with sheet music on a stool in front of him, the painter – who wears a dark artist’s cloak over a jacket, a rather large hat and house shoes – is tuning his lute, while glancing over his shoulder at the beholder. Behind the easel a number of frames, as well as square and octagonal panels, are propped up against the back wall. To the left of the painter we see a table covered with a heavy, dark red cloth. Leaning against it is a large bass viol, and on the floor a pile of books, the black lute case and a sheaf of papers, some of which seem to be prints, form a beautiful still life. As such, the scene is entirely fitting with other works by Codde from the late 1620s and early 1630s.

Dutch East India Company (VOC)
At the latest in 1628 Codde rented a house in the Jodenbreestraat, in 1631 his capital was estimated only 1,000 guilders, a few years later, according to an inventory of 02/05/1636 he was the owner of an extensive collection of paintings.

On the eve of the Twelfth Night of Epiphany, on January 6, 1636, Pieter Codde and Marritgen Arents Schilt spent the evening with another couple - Jan Pietersz. Van Rijn and Cornelia Christien. The two man drank heavily and on the couple's return home, Pieter Codde attacked and raped their twenty-two year old servant girl, Aefge Jans, in the kitchen. When confronted with his behavior, Codde said that his wife is jealous. During his interrogation Codde said he was so drunk that he simply could not recall what had happened that night. The next day, three women (stadsvroedvrouwen) in the service of the city magistrates, came to examine Aefge Jans in the torture chamber (pijnkamer) but found no evidence of rape. This affair led to Pieter Codde's separation from his wife.

On April 25, 1646 Marritgen Aerents Schilt wrote her last will and mentioned the separation of Codde.

Codde wrote his final will at the age of seventy October 8, 1669.
Codde also willed a large some of his property to his maid-servant Barentje Willems, with the wish that she be well cared for. This expressed desire and the fact that Codde never remarried suggest that the couple had a much deeper relationship than that of a master and servant. On January 16, 1679 a document presenting Barentje Willems as the sole and the universal heiress of Pieter Codde, attests to the fact that she sold the house on Keizersgracht (no 385) for 2500 guilders.

Japanese export lacquerware was one of the many goods that the VOC shipped from Asia to Europe. The lacquerwork was made in Japan for export and delivered in all forms, such as suitcases, trunks, boxes and cabinets. An important part of the lacquerware trade was formed by from so-called ' comptoirs ', or cabinets.

[Your Old Comrade]

Het lied van de PVDA, geschreven na de fusie van de SDAP, VDB, en CHU.

[Your Old Comrade]

Song about the famous Battle of Warns (26 September 1345) where a Frisian force completed wiped out an Hollandic army.


The monument of the battle of Warns in Friesland. It says, in Frisian, "Better to be dead than a slave".

Provided to YouTube by CDBaby

Slach By Warns · Baldrs Draumar

Fan Fryslans Ferline

℗ 2017 Baldrs Draumar

Released on: 2017-10-07

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[Your Old Comrade]

Provided to YouTube by Ván Records

Mijn Oude Volk · :NODFYR: · Mark Kwint · Mark Kwint

Eigenheid

℗ Ván Records

Released on: 2021-03-05

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