Find album reviews, stream songs, credits and award information for Louis Andriessen: De Stijl; Trepidus; Dances – Louis Andriessen on AllMusic – – The. The elements of De Staat’s ensemble demonstrate what Andriessen is The third, De Stijl (Style), is a boogie-woogie tone-poem inspired by. Pre-proceeding. In the movement “De Stijl” from his oratorio De Materie, Louis Andriessen adapts Piet Mondrian’s Composition with Red, Yellow and Blue .
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Streams Videos All Posts. One answer can be found by listening to this, an excerpt from year-old Dutch composer Louis Andriessen’s De Staat. How can you resist the aggressive andriesesn of this music, its moments of gigantic tension and explosive release — such as, for example, the moment when that austere energy created by the four oboes and then the four trombones you hear at the start is suddenly but inevitably shattered by the thrilling wall of sound of the full ensemble?
The third, De Stijl Styleis a boogie-woogie tone-poem inspired by Piet Ansriessen work, and the final panel is a andrissen meditation on death, relating musically to a work by Andriessen’s father, the composer Henrik. I deplore the fact that Plato was wrong.
Compositional techniques in Louis Andriessen’s “De Stijl” by Joel Matthys on Prezi
Drinking Hanging Out In Love. If only it were true that musical innovation could change the laws of the state! It’s worth saying, however, that — at least until the cuts that df now blighting Dutch musical culture — Andriessen, Andrieseen Leeuw and the others have now become the de facto music establishment in Holland, thanks to the success of the institutions they set up and the miraculous energy andrisssen diversity of the new scene they created with anxriessen radical ripostes to the system decades ago.
That includes string instruments: Andriessen’s profound affinity with Stravinsky has produced, as well as refractions of Igor’s techniques in his own idiom, one of the best books ever written about the Russian composer, The Apollonian Clockwork. They disrupted concerts given by sstijl at the Concertgebouw, demanding greater representation of new music on Concertgebouw programmes and saying that the orchestra had a duty to represent the whole of Dutch society and not just a small social fraction of it.
In an inevitably reductive nutshell, Andriessen’s music is the sound of the most fruitful of collisions between political radicalism, minimalist pulsation and European modernism; at its most profound, it’s much more than that.
But he goes on: De Stijl — Trepidus — Dances justifies its existence through inclusion of Dances, which, despite the title, is a mostly static work for voice and chamber orchestra. Threads collapsed expanded unthreaded.
A guide to Louis Andriessen’s music | Music | The Guardian
In Andriessen’s own words: Ditto the fiery moto perpetuo the whole ensemble creates in unison in the middle of the piece, or the waves of strange repeated chords that pass through the music near the end — a weirdly disturbing noise that’s both static yet full of energy? Even as such, it utilizes features that are readily associated with Andriessenfor example boogie-woogie bass lines, chattering saxophones in the manner of Stravinsky ‘s Ebony Concerto, and highly rhythmic and prominent percussion.
Romantic Evening Sex All Themes. Although the Attacca disc does not provide a great deal of detail about the origin these recordings, they appear to be live, probably of the premiere performances as captured in Dutch radio broadcasts. Show 25 25 50 All.
But if there’s one piece of Andriessen’s I want the world to hear, it’s his epic four-part cycle De Materie Material — again, you’ll need Spotify to hear the whole thing. This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes stjl purchase.
Louis Andriessen’s “De Stijl” and Rendering Mondrian Musical
However, the moment the musical material is ordered it becomes culture and hence a social entity. They were scarcely listened to, so set up their own groups that would be more flexible and radical and genuinely reflect new musical thinking. Loading comments… Trouble loading?
It’s best heard together, but Andriessen — and I! De Stijl — Trepidus — Dances is a no-nonsense packaging of three Andriessen works that made their bow between and Andriessen fans will want this just to have Dances; others adnriessen wait until this work finds issue on disc along with recordings that are less disposable. For me, De Staat is the solar plexus — or at least one of the solar plexi — of Andriessen’s output because it brings together the spectrum of his musical and political thinking, but also because of the sounds that it makes.
Release Date September 26, The title means The Republic, and this piece is an imagination of what Plato’s Republic means and meant for music; a musical discourse on how his ideas about music might relate to contemporary society. Andriessen’s piece includes settings — “declaimings” would really be a better word — for four female voices, which illustrate these ideas.
And if andriessn a composer who’s dissatisfied with the way the world works — or even the way the musical world works — what can your music do to comment on it, criticise it, protest against it and possibly transform it? The second, a nun’s vision of her union with Jesus, is a magnificently sensual scena for solo female singer and ensemble called Hadewijch.
The thing is, Andriessen’s music really has changed the music of a state aneriessen no Dutch composer has been as influential on musical culture, especially in his home country, as Andriessen, and his importance internationally has only expanded as his career has gone on.
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The links are powered by Skimlinks. On one hand, De Materie is an unclassifiable hybrid of theatre, sndriessen, singing, instrumental music and philosophical reflection. For Andriessen, that meant what amounted ahdriessen a decades-long aversion to the sustaining line of string instruments, and an almost genetic attraction to the rhythmic power and potential of brass, winds, percussion and electric instruments — a sort of souped-up version of the kind of ensemble Stravinsky loved the best.
Claron McFadden contributes her marvelously pure and weightless soprano voice to a sensitive, ethereal accompaniment provided by the Netherlands Radio Chamber Orchestra under Gunther Schuller. That group was founded qndriessen a reproach to the existing behemoths of Dutch classical musical life, which Andriessen and his friends and fellow provocateurs, including conductor Reinbert de Leeuw and pianist Misha Mengelbergfought against in the s and 70s.
But it’s also quintessentially itself, and quintessential Andriessen, because every bar of it has an absolutely compelling materiality see what I’ve done thereboth on the level of the four parts and the cycle as a whole.
Of the two recordings, the Nonesuch is clearly preferable; while the premiere of De Stijl was a good one, this performance is still a bit rough around the edges and the recording perspective is distant, favoring the percussion over everything else. The piano piece Trepidus, played here by Gerard Bouwhuiscomes off well, but the piece is frankly not one of Andriessen ‘s most inspired ideas, consisting of two outer sections made up of static, dissonant chords and a faster middle section.