Dutch music

[♥ Lily ♥]

Epica ~ Design Your Universe (live)


The Phantom Agony

[Dandelion]

Rob Trujillo is mimicking the words as he remembers them. The audience knows the lyrics by heart. And so do I in fact.

[Finnish Swede]

[The Lawspeaker]

Jan van Gilse (1881-1944) Sinfonie No. 2 in Es Dur (1903 rev. 1928) 1. Andante - Allegro energico - 00:00 2. Intermezzo - Allegretto grazioso - 12:27 3. Finale - Andante molto - 18:54 Orchestra: Orkest van het Oosten Conductor: David Porcelijn Jan van Gilse was a Dutch composer. He studied composition and conducting with Franz Wüllner at Cologne University (1897--1902). In 1902 he was awarded a prize for his First Symphony by the Beethoven Haus in Bonn. After studying with Humperdinck at the Akademische Meisterschule in Berlin, he worked as a conductor at the Bremen Opera, then at the Noord-Nederlandsche Opera in Amsterdam. In 1909 his Third Symphony was awarded the Michael Beer prize, which enabled him to work and study in Italy for two years. Afterwards he settled in Munich. During World War I van Gilse and his family returned to the Netherlands, and in 1917 he was appointed conductor of the Utrecht SO, with whom he gave many performances of works by contemporary French and Dutch composers. A conflict with the young Dutch composer Willem Pijper led to his resignation in 1922. After a short stay in Switzerland van Gilse settled in Berlin, where he started work on his autobiography (MS, NL-DHgm). He returned to the Netherlands, where he was appointed principal of the Utrecht Conservatory. In 1937 he resigned his position in order to devote himself to composition. In 1940 he completed his opera Thijl, based on the story of Tijl Uilenspiegel. After the Germans invaded the Netherlands in May 1940, van Gilse publicly opposed the banning of Jews from concert halls. After organizing a petition in protest against the Nazification of Dutch artistic life, he was accused of high treason and went into hiding. During this period his two sons, also active in the resistance movement, were killed by the Nazis. Van Gilse could not cope with his grief and died after a short illness. In addition to his work as a composer, van Gilse played a role in founding institutions designed to promote the interests of Dutch composers: the Genootschap van Nederlandsche Componisten (1911), the Bureau voor Muziek Auteursrecht (BUMA, the composers' performing rights society, 1913). In 1935 van Gilse founded the Stichtung Nederlandsche Muziekbelangen to promote the performance of Dutch music. The foundation's archive containing microfilms of Dutch music manuscripts became, after van Gilse's death, the basis of the publishing house Donemus (founded in 1947). Van Gilse took a relatively long time to develop a personal style as a composer. His German training, and the music of Mahler especially, left its mark on his early works up to 1916. Those written during and shortly after his years in Utrecht (1917--1922) testify to his intensive study of the works of French composers such as Debussy, Ravel and Roussel, particularly in their use of short motifs, augmented chords, parallel harmonies and their striving after colourful, transparent orchestration. From these German and French influences, a synthesis gradually developed, culminating in the cantata Der Kreis des Lebens (1928--1929), the opera Thijl (1938--1940) and the unfinished declamation Rotterdam (1942). In these three works van Gilse achieved an individual style, which rejects the anti-Romanticism of the French-style works. In Rotterdam and Thijl he makes use of elements from folk music.

Cornelis Dopper (1870-1939) Symfonie Nr. 2 'Scottish' in B minor (1904) 1. Andante, Molto Moderato - 00:00 2. Allegro Vivace, A La Burla - 14:15 3. Adagio Sostenuto - 22:10 4. Rondo: Allegro Molto, Energico - 33:36 Orchestra: Residentie Orkest Conductor: Matthias Bamert Cornelis Dopper was a Dutch composer and conductor. He studied the violin, the piano and composition at the Leipzig Conservatory (1888--1890). His most important teacher was Oscar Paul, who lectured on the history of music and musical aesthetics. Dopper was otherwise self-taught. Back in the Netherlands, he completed his first opera Het blinde meisje van Castel-Cuillé in 1892. In 1897 he became violinist and later also repetiteur and assistant conductor at the Nederlandse Opera in Amsterdam, until this company was dissolved in 1903. In 1906, Mengelberg performed his Rembrandt Symphony with the Concertgebouw Orchestra. Between 1906 and 1908 Dopper worked in the United States as one of the conductors of the Savage Opera Company; among other things, he conducted the American première of Madama Butterfly. At the suggestion of Mengelberg, he was nominated as second conductor of the Concertgebouw Orchestra in 1908. He mainly worked as a repetiteur but also gave the Dutch premières of pieces such as Debussy's La mer. In 1918 the critic Vermeulen, following the première of Dopper's Zuiderzee Symphony, made known his rejection of Dopper, who was regarded as conservative. This incident led to demotion: until he was dismissed in 1931, Dopper chiefly continued to conduct summer and popular concerts, and the youth concerts which he himself initiated in 1923. His most popular orchestral work, the eclectic Ciaconna gotica (1920), was performed throughout the world by Mengelberg. Dopper was not an innovator as a composer, but possessed a great instinct for orchestral colouring. His interest in antiquity is apparent from works such as the Symphonia epica based on Homer and the orchestral studies Päân I and II. But above all Dopper was a Dutch composer, as shown by the titles of his Rembrandt, Amsterdam and Zuiderzee Symphonies. In this last work he neatly combines melodies from Valerius's songbook Nederlandtsche Gedenck-clanck (1626). Only three of Dopper's works have been published; his complete works are preserved in the Gemeentemuseum, The Hague.

Henriëtte Bosmans (1895-1952) Sonate : voor violoncel en piano (1919) 1. Allegro maestoso - 00:00 2. Un poco allegretto - 09:26 3. Adagio - 14:04 4. Allegro molto e con fuoco - 17:41 Doris Hochscheid, cello Frans van Ruth, piano dedicated to Marix Loevensohn The CD and more information on Dutch Cello Sonatas are available at: www.cellosonate.nl Henriëtte Bosmans was a Dutch pianist and composer. Her father, Henri Bosmans, had been principal cellist of the Concertgebouw Orchestra, while her mother, Sara Benedicts, taught piano for 40 years at the Amsterdam Conservatory. Henriëtte studied the piano with her mother, gaining a piano teaching certificate cum laude from the Maatschappij tot Bevordering der Toonkunst in Utrecht at the age of 17. By the 1920s her career as a pianist was firmly established. She appeared with leading European conductors such as Monteux, Mengelberg and Ansermet, with a repertory including Mozart, Beethoven, Brahms, Rachmaninoff, Grieg, Franck and Debussy. Between 1929 and 1949 she performed 22 times as soloist with the Concertgebouw Orchestra. She was also active in a number of chamber music ensembles. She began composing in her teens, studying harmony and counterpoint with Jan Willem Kersbergen and, later, instrumentation with Cornelis Dopper (1921--1922). Many of her works were inspired by musicians with whom she performed. Her friendships with the cellists Marix Loevensohn and Frieda Belinfante resulted in several works for cello, including two concertos and Poème for cello and orchestra. Until 1927 her music was characterized by broad, lyrical lines, with clearly discernible Romantic influences. In the years she studied with Pijper (1927--1930), her style quickly became less Romantic and the instrumentation more transparent and colouristic, suggestive of the techniques and atmosphere of Debussy and Ravel. The Concertino for piano and orchestra, which was selected for the ISCM festival in Geneva in 1929, is harmonically related to Debussy. In 1934 Bosmans became engaged to the violinist Francis Koene, who died the following year. The Concertstuk for violin and orchestra, intended for Koene, was given its first performance by Louis Zimmerman in 1935 with the Concertgebouw Orchestra conducted by Mengelberg. It received many performances at home and abroad, including the USA. Koene's death, together with the impending war, were probably the main reasons that Bosmans stopped composing until after the war. During the war Bosmans refused to become a member of the Kultuurkamer, which was required of all Dutch musicians. At the end of August 1942, performance of her music was banned. She earned an income playing in private concerts. After the war Bosmans concentrated almost solely on vocal compositions. She wrote the passionate Doodenmars ('March of the Dead') to a text by Clara Eggink, and a more hopeful orchestral song, Lead, kindly light (1945), to a poem by Cardinal John Henry Newman, first performed on 3 November 1945 by the soprano Jo Vincent and the Concertgebouw Orchestra conducted by Adrian Boult. In the last years of her life Bosmans formed a duo with the French singer Noëmie Perugia, who inspired her to write a large number of songs, mostly on French texts. Her songs vary strikingly in character and have a high degree of expressive tension. Many are narrative and ballad-like, the music artfully underlining the text. She was equally skilled in setting both French and German poetry, such as Heine's Das macht den Menschen glücklich. After the war she also regularly contributed articles on music to various Dutch newspapers and periodicals. She received a posthumous knighthood.

[FountainOfSalmacis]

[Adamm]

I guess hardstyle is pretty Dutch.

[The Lawspeaker]

Cornelis "Kees" Dopper (Stadskanaal, 1870 - Amsterdam, 1939) Symphony No. 1, "Diana" (1896)
Movements:
1. Meeting of the Gods in Diana's Temple (0:00)
2. The Ball in the Knight's Lair (11:13)
3. The Wandering Knight in the Woods (18:35)
4. In the Venus Mountain (30:00)

Northern Netherlands Orchestra conducted by Jürgen Kussmaul Illustrations: photos of Amsterdam around 1900 (the final photograph is of the Concertgebouw)

[Ülev]

[Ice]

[PaleoEuropean]

Love them or hate them they are the only true art in hip hop, Yolandi has a beautiful Germanic look too.