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thu 27 jun 2019 14:00
Recordings from the archive of de Concertzender. With today: the Vienna Piano Trio: Stefan Mendl, piano, Bogdan Bozovic, violin and Matthias Gredler, cello. A recording of 11-8-2015 and Jakob Korany: cello. Nora Fischer: soprano and Frank van de Laar: piano. A recording of 23-10-2014.
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Prize draw: Benjamin Britten
Last month’s we wanted to know for whom Dutch composer Henriette Bosmans wrote several works for the cello? And why did she do this? The answer: she composed them especially for cellist Frieda Belinfante, because they were partners, living together. Winner : B. de Boer, Drachten. Congratulations! This month’s question What is the name of the Aldeburgh Festival Theatre and what did I used to be ? Prize : Benjamin Britten, Serenade for Tenor, horn and strings. Young Apollo. Lachrymae. Prelude and Fugue. Allan Clayton,tenor. Richard Watkins, horn. Aldeburgh Strings ed by Markus Daunert ( Linn Records CKD 478). Send your answer to firstname.lastname@example.org before 18 July.
Stockhausen, part 2
Opera of the month – Karlheinz Stockhausen- Donnerstag aus Licht- Opera 20th century The German composer Karlheinz Stockhausen (1928-2007) is an icon of both post-war classical music and opera, although his operas have always been given less attention that his other work. That is not justified. The greatest achievement in his opera oeuvre is without doubt ‘Licht: Die Sieben Tage der Woche’, a cycle of seven operas that he composed between 1977 and 2003. If I have to choose one work from the cycle it is ‘Donnerstag aus Licht’ from 1980. This opera had its première in 1981 in Italy. Although the public was enthousiatic, the reviewers were unimpressed and much of the criticism was directed at Stockhausen himself. The music was considered to been acceptable but visually it did not meet expectations. The final result was considered to be symptomatic of his pretentions. A few years later, opinions had changed and there was appreciation for the mystical, sublime and enriching aspects of the opera. It has to be said, Stockhausen’s music has always divided opinions both during his lifetime and since his death. But you should give it a listen, you won’t be disappointed. The following recording is recommended: Karlheiz Stockhausen- Donnerstag aus Licht- recorded in 1980, and issued by DG in 1988 (4CDs) (DG4233 792) with the Dutch Radio Chamber Orchestra, the West-German Radio choir and the Ensemble InterContemporain led by Karlheinz Stockhausen and with Robert Gambill, Annette Meriweather, Matthias Hölle and others. Luc Nijs – Opera in de 20th century
A weekly treat: the Palace of Nostalgia
From the 22 June, The Palace of Nostalgia will be broadcast every week. Music of the past for the listeners of today. Great American Songbook, cool jazz, swing jazz, music from the days of bubble-gum cards, cabaret, curiosa – and all coated in a layer of nostalgia. In short, music that is still very special but is now rarely heard. There are also regularly special programmes, such as the recent ones about Doris Day, Nat King Cole and Peggy Lee, and there are many more in the planning.
Stockhausen aus Licht
Karlheinz Stockhausen’s opera cycle Licht is the Ring of the Nibelungen of our time. It is the culmination of the musical development of one of the most interesting musical minds of the 20th century and contains riches which are too huge to summarise and realise. Even a partial performance of this work is in these circumstances a special event. That event takes place this month during the Holland Festival. A good enough reason to award Composer of the Month to the composer Stockhausen and his adventurous journey which for him can continue after his life. Licht: 27 years of work Composer of the month is Karlheinz Stockhausen. This month De Nationale Opera is performing a broad selection from Stockhausen’s opera cycle Licht. This enormous work, on which the composer worked for 27 years, has many aspects and is the culmination of a long, highly interesting development. Today a few highlights from that development. The German Stockhausen was born in 1928. His demented mother was murdered by the nazi’s and his father died on the Eastern Front. After the Second World War he didn’t believe in returning to the prewar world and looked as a composer for new methods of expression. In the 50’s he was one of the pioneers of electronic music and in 1957 he broke through with one of the classics of early electronic music: Gesang der Jünglinge. In this piece he combined electronic sounds with a boy’s voice which sometimes hadn’t broken. The tension between human and non-human sounds gives this piece its character. Gruppen After Gesang der Jünglinge he concentrated on a new musical topic: space in music. Sound sources could be spread across a stage and engage in dialogue with each other. That idea, new in the 50’s, resulted in his Gruppen voor drie orkesten from 1958. A symphony orchestra is divided into three groups, not even in the traditional groupings of strings, wind and percussion. Each group comprises musicians from different instrumental families, which produce completely new sounds. If you have multiple loud speakers at home, set them wide apart. The spatial performance is essential for this work. Imagine yourself sitting in a concert hall with an orchestra in three corners. The listener is assaulted from three sides. When and by who is the surprise. Another area in which Stockhausen loved to experiment was the form of musical piece. Up to 1950 the composer wrote a number of movements and the musician played what was written. After 1950 several composers said: the performer can choose the playing order themselves. Stockhausen put this into practice. The pianist David Tudor played the Pianostuk nr. 11 from 1957 in at least four versions. Here is one of the four. If you’d like to know how different it can sound, listen to the other three. This piece is revolutionary in other ways too, such as the treatment of the instrument. Japanese influences In 1970 the World Fair was held in Osaka Japan. Stockhausen was asked to compose the music for the German Pavilion and wrote a piece which encountered enormous resistance because of its four hour length. Actually for some people that what makes it attractive. Stockhausen for his part became fascinated by Japanses culture. At the same time he did what he wanted with Japanese culture. Typically Japanese and typically Stockhausen in this piece is the fascination with percussion sound. Typically Stockhausen is the principle that time doesn’t move forward regularly, but sometimes seems to stop and then runs spasmodically. Stockhausen was always fascinated by the tension between the moment and the form, also in this work. Stockhausen brought all of his sources of inspiration together in Licht, a cycle of seven operas. In so many ways it’s a lifetime’s work: from small groups to huge orchestras, instruments and electronics, short and long movements. There is a story, but that is overwhelmed by the enormous contrasts in the music. The movements can also be played independently. Licht is an opera which has to be seen. Direction and decor are important. If you see and hear the opera then you can understand why Stockhausen’s music was so criticised and inspired so many musicians to untold heights. The coming performances of Licht are a unique opportunity for lovers. You might have to wait years for another chance. Programme name Composer of the Month First broadcast Tuesday 4th June 2019 18.00-19.00.
On 3rd January 2014, Concertzender premiered the programme Pure Classics. This month we’ll bring you the last two episodes. The programme of 12th June is devoted to the family Mozart, Leopold, Wolfgang Amadeus and Franz Xaver. The very last episode, aired on June 19th focuses on another musical family, Bach’s four composer sons. From July, Pure Classics will merge with ‘De wandeling’.
Early Music schedule
For many years you have been able to listen to music from the Middle Ages, the Renaissance and the Baroque on the Concertzender. There are a variety of programmes featuring well-known and less well-known musicians, surprising, sometimes educational and often reflecting current developments in the world of Early Music. In the past, Early Music could be heard on Monday evening, Thursday evening and Sunday afternoon with Bach ad Infinitum being broadcast every weekday at 13:00 CET. This changes on Thursday 20 June 2019 when our new broadcasting schedule is introduced. The changes are listed below: – On Monday Nuove Musiche moves from 18:00 CET to 19:00 CET. – Documento, Organ works and Series Jordi Savall move to Sunday at 16:00 CET. – Roaming the Renaissance/Baroque airs on Saturday morning at 10:00 CET, under the name Roaming the Classical Period. – Concertzender Live Early Music moves to Friday afternoon at 14:00 CET. – Sound the Trumpet, Strike the Viol! Stays on Sunday but moves to 11:00 CET. – Missa etc. moves to Tuesday afternoon at 18:00 CET. – The Early Garden, Early Delights and L’Esprit Baroque moves to Sunday at 15:00 CET. Bach ad Infinitum continues to be broadcast every workday from 13:00 to 14:00 CET.
New programming: the power of the Concertzender
(by Lucy Th. Vermij) The Concertzender wil start a new format on June 1. We’ll be starting horizontal programming with comparable programmes at the same time of day. Recognisable during the day, primarily clasical music (early,classical, modern, contemporary), and in the evening trusted and thematic programmes. In this way we’re hoping to present our power and unity better: unknown repertoire and enormous expertise. People are creatures of habit and prefer predictability, maybe spiced up lightly with pleasant surprises. Listeners shouldn’t have to listen to their programmes at different times every day.We don’t listen to radio like that. When we turn the radio on we don’t want to be disappointed in our musical expectations. Because then we won’t tune in again.