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sun 31 may 2020 07:00
Works by Sergueï Mikhaïlovitch Liapounov, Gyorgy Ligeti, Sergej Rachmaninov, Robert Kajanus, Vincent d’Indy, Paule Maurice, Francis Poulenc, Henri Dutilleux, Jacques Brel.
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Competition: prize CD
Take advantage of our director Sem de Jongh’s confession. His ‘tampered silence‘ can be heard on youtube. But where is it? Listen to the recording, report the times to Sem at and you will hear if you are correct. The winner of the monthly prize of a CD will be chosen from the correct answers. Answers must be in before 25 June 2020.
An Ox on the Roof, part 15
On Sunday 7 june from 12 tot 13 hours , we’ll be broadcasting volume 15 of An Ox on the Roof, Thea Derks’ series following her book with the same title. The music theater piece Arianna by Florian Magnus Maier should have had its premiere on May 21 in Muziekgebouw aan het IJ. He wrote this ‘reconstruction’ of the eponymous opera by Monteverdi for the early music ensemble Le Nuove Musiche and his own electric guitar. Maier is also a familiar name in the field of death & trash metal. Connie van Binsbergen also plays electric guitar, but she is involved in the world of jazz and improvisation. She became known for her many projects with poets and will make one last tour this autumn, after which she will devote herself entirely to composing. Bart Visman does not perform himself, but writes beautiful music for others. His work follows the classical tradition of composers such as Debussy and Ravel. He has a special flair for vocal music. In summary, more music by Dutch composers. Listen The Ox in the time of Corona #3, Sunday 7 June from 12:00 to 13:00 CET
Genius Music Friends: Nancy Storace II
By Thijs Bonger Mozart and Haydn went soft on the same woman, and they weren’t the only ones. The young and beautiful Italian-English diva Nancy Storace entranced all of Vienna with her voice, acting talent and appearance. If the two music friends got the chance, they composed and arranged for her. For example, Haydn was thinking of her when he wrote the cantata ‘Miseri noi, misera patria’ (Hob. XXIVa: 7). He wrote on the manuscript: “For the voice of my dear Storace.” Beautiful music, but remarkably peaceful when you read the text. It turns out to be about a city that is being looted by an army and is on fire. A fine recording of this is the one led by Christopher Hogwood. The soprano part is sung by Arleen Auger and her golden voice is enchantingly beautiful.
By: Sjaak Roodenburg Say ‘Louis Armstrong’ and most people will immediately think of a sweaty man with a huge grin and a dark brown voice singing repertoire such as Hello Dolly or What a Wonderful World. Armstrong, alias Satchmo, is one of the greatest American entertainers of the 20th century. Rightly so, but also a bit of a shame. Because his real greatness lies 50 years earlier than his best known successes. Cornetist Ruby Braff compared Armstrong’s importance for music with the Big Bang for the Universe. And Miles Davis said: ‘You can’t play anything on the trumpet that doesn’t come from him, even this modern shit. I don’t care how bad he sounded on the trumpet. Never.’
Festival in Crisis
Deining Online: on Saturday 6th June Festival Day in Crisis, the Haagse festival for new Music, will be broadasting a 90 minute live internet edition with Kluster5, Mosa Trio Michel Marang. And artist-in-residence Meriç Artaç went especially for DinB with her camera through her birthplace Istanbul, the abandoned decor for her short film Mr. Z. Coincidence? The festival theme abandoned places was dreamt up long before the coronacrisis . Idea: abandoned places which inspire artists. A more apposite theme we couldn’t imagine, although the theme acquires a extra meaning. Festival director Caroline Bakker: “Of course we’d prefer to present our festival live in the theatre with a public, because that’s what Day in Crisis is all about: the proximity, connection and making acquaintance with new music played live. But now we can’t do that, and an online edition gives us new opportunities,such as reaching an international audience.”
Composer of the month; Fauré
Gabriel Fauré (1845) was born into Catholic family and received his first music lessons in Paris at a music school where Gregorian music was much admired. He cherished that Catholic repertoire his whole life. In many of his works he reused old compositional techniques in his own personal style. At the same time as a starting composer he had to find his own niche, taking account of the French secular taste of that time. So the “ classical style “ was important for Faure as well as the older Catholic church music. Although he didn’t write many sonatas, symphonies, quartets or concertos, he adapted the essential elements: clear phrasing, a clear connection between thematic building and harmonic development and the creation of forms from pregnant melodies and motifs. War and thereafter The French-German War took place from 1870-‘71 . It was a humiliation for the French, who had to watch as their army was overrun in 3 weeks and even worse Wilhelm I, in Versailles (nom de Dieu!) and partly against his wishes, was crowned Deutscher Kaiser . This setback aroused French nationalistic sentiment, even in music life. The Société Nationale de Musique (aptly epitomized with the Latin motto ‘Ars Gallica’) was created, with Fauré as one of the founders. In practice it was mostly the rhetoric which was so French, as the music remained faithful to Germans such as Mozart and Beethoven. The most ‘French elements’? The harmonies and the leaning towards refinement. Small is (more) beautiful Fauré wrote a lot and not all of it is good. He preferred to write chamber music rather than operas, which are less admired. Over the years his palette became darker and more capricious , which is why much of his later music is hardly known. That’s certainly not the case with his vocal chamber music. Fauré became particularly famous as a song writer. All his life he composed for the voice. He loved playing with words, had a feel for the rhythms of a phrase and could translate that superbly into music. This month you’re going to hear a number of examples, including ‘Les Berceaux’, performed by our very own presenter Evert Jan Nagtegaal. Nomen nest omen, just listen. Listen Fauré: composer of the month. Every work day from June 2nd between 16.00 and 17.00
Silence, exile, cunning..in music
When all instruments stop, it’s silent. Sometimes that can lead to something magical, such as at the end of a symphony. You hear the last note, dying away in the acoustic. And then a sort of holy moment of emptiness. Every concertgoer has experienced such a moment. This phenomenon can also happen in the middle of a piece. Not only do I have an example, it’s also a confession. I don’t know what consequences it will have, it will probably be allright, as the conductor in question has passed away and the record label exists no more. 25 years ago I was editing for Philips Classics the Orchestral Suites by Bach in a performance by the Orchestra of the 18th Century with Frans Brüggen. As Music editor you couple the best takes in a tasteful way to each other. That has to be done with great precision without breaks and with nice continuous musical lines. It has to be correct rhythmically, no funny extra sounds, the acoustic must run perfectly etc. This way you create a perfect sound world.
Bach and silence
Handel’s Music filled Bach ad Infinitum for a month . From 8th to 12th June we go back to Johann Sebastian, with his alto cantata “Vergnügte Ruh’, beliebte Seelenlust” BWV 170. Govert Jan Bach about silence in Baroque music: Music isn’t often about silence. Silence was the starting point in the Baroque, it was almost always quiet, apart from bells and farmer’s carts. And silence was predominantly associated with death, “Der Schlaf is ein Tod worden”, or with peace: Ruhe. Bach did that in his closing chorus of the St Matthew Passion: “Wir setzen uns…“, in which the first choir wishes the second choir: Ruhe. And in his closing chorus of the St John’s Passion “Ruhet wohl ihr heilige Gebeine”, now for eternal peace.