AUGUSTINUS P. DIERICK, UNIVERSITY OF TORONTO : an aper.;ul

"After Sweelinck the produced all Mahler. At the same time, Dutch composi­ practically no for three hundred tions were being published by A. A Noske in years. But the 20th century has seen the birth Middelburg. Finally, a new generation of of a flourishing school which, in reacting composers began to make itself heard. against the strong influence of the 19th century, accepted the hegemony of French First and foremost among these was music." Thus the Larousse Encyclopedia of . Although trained in Leipzig, Music. 2 Although in its baldness this state­ Zweers was the first to make a serious bid for ment is correct neither about the lack of an independent nationalistic style, especially composers nor, in this radical form, about the in his Third Symphony, To My Fatherland, of hegemony of French music, it is nevertheless 1890. He was followed closely by Alphons true that the 17th, 18th and 19th centuries Diepenbrock, a of large choral and were heavily dominated by foreign compos­ orchestral works. It was Diepenbrock above ers and performers, with the result that, all who initiated the shift from Germanic to without national content and without inter­ French influences mentioned above: from national quality, the music of this period is at Wagner to Debussy, and from German Lieder best competent, often only of historical on texts of the Romantics (e.g. Hymnen an die interest. 3 Nacht on texts by Novalis) to vocal works on poems by Baudelaire, Verlaine and Laforgue. A number of factors contributed to the revival of music in the Netherlands around Diepenbrock's near contemporary Johan 1880. There was the opening of the Wagenaar 0862-1941) was a very different in 1888 and the musical character - a bon vivant, realist and humorist, reforms of Willem Kes associated with the the composer of satirical operas, of concert orchestra. In 1895 took overtures two of which, Cyrano de Bergerac over from Kes and began to internationalize and De Getemde Feeks, are still in the reper­

, 4" and modernize the repertoire, with the intro­ toire, Saul and David (inspired by a painting duction of composers like Richard Strauss, of Rembrandt) and a Sinfonietta. He spent Scriabin, Debussy, Rachmaninov and above some time as a violinist in the 12 Canadian Joumal of Netherlandic Studies

Stedelijk Orkest (Utrecht Municipal Orches­ interest in botany. He spent many happy tra); he was also active as an organist, and hours in his father's garden where he began a directed various choirs in Utrecht. From collection of seeds, carefully labelled and 1919 to 1937 he was the director ofthe Royal categorized, which he maintained until his Conservatory in . He was also an home was destroyed during World War II. important conductor and introduced a number of important works into the Dutch By 1908 his health had improved suffi­ repertoire, among them Mussorgskys Boris ciently for him to attend high school (gymna­ I Godunov. As a composer he was influenced sium), where he studied for three years, I by Brahms, Berlioz, and Richard Strauss - the wishing to devote himself entirely to music. I latter two especially in the matter of brilliant In 1915 he passed an examination in theo­ orchestral scoring .. The concert overtures are retical subjects at the Utrecht Conservatory. clearly inspired by Richard Strauss, specifi­ Here he was taught composition by Johan cally his Don Juan. Wagenaar was an eminent Wagenaar (1862-1941), who introduced him pedagogue, and among his pupils were Peter to his own favourite composers: Berlioz, van Anrooy and Willem Pijper. Richard Strauss, and .

Willem Frederick Johannes Pijper4 was The most important thing Wagenaar trans­ born in Zeist on September 8, 1894 of work­ mitted to Pijper, however, was his excellent ing-class parents with staunch Calvinist theoretical knowledge, which Pijper in tum leanings, who took a little interest in music. was able to passon to others throughout his His father, a paperhanger who sometimes teaching career. Pijper was an eminent peda­ played psalm accompaniments on the harmo­ gogue. First a teacher of harmony, in 1925 he nium, taught him the names of the notes of became the head instructor in composition at the treble clef when he was five. Pijper subse­ the Conservatory, and in 1930 he quently discovered the use of sharps and flats became the director of the Toonkunst on his own and began composing simple Conservatorium in . Here he melodies. His fascination with symmetrical remained until his death in 1947. musical structures was evident even at this early age. The organist of a nearby church In the 1920s and 1930s Pijper's reputation took an interest in the lad and allowed him to grew rapidly, and he became one of the most play on the church instrument. At ten he respected composers in Europe, drawing the began formal piano lessons and made rapid attention of as prominent a musician as Pierre progress. Monteux, who tirelessly promoted Pijper's Third Symphony (1926, see below) and Poor health (he suffered from a form of other works. As an indication of his rising chronic asthmatic bronchitis) prevented the prominence, we may note that his composi­ young Pijper from attending regular elemen­ tions began to be performed at the concerts tary school, and hence for the first 13 years of of the prestigious International Society for his life he was educated at home. During this Contemporary Music. time he made marked intellectual progress, becoming a voracious reader with a particular The war years were difficult for Pijper. Willem Pijper: An Apen;:u 13

During a massive German bombardment of a significant degree of independence in his Rotterdam on May 14, 1940, Pijper's home pupils, as can be gathered from the broad was completely destroyed. Fortunately, he spectrum of styles represented by this list. had stored his manuscripts in a safe-deposit Pijper was also an active performer, working vault several months previously, thereby in particular with the Blaassextet preserving them for posterity Pijper spent (wind sextet), and with the Singer Berthe much of his time during these trying years Seroen. Moreover, he occasionally gave piano working on a new opera, Merlijn. He believed recitals during the mid to late 1920s. that the work would be the last great effort of his life, but he also feared that he would not Of greater importance than his perform­ live to see it completed. In this, Pijper was ances was his activity as a critic. In 1926, unfortunately correct: in late 1946 he was with Paul F Sanders, he established the diagnosed with cancer. It is likely that the periodical De MuZiek, which survived until war years had prevented an earlier diagnosis, 1929. He contributed many essays to his and by this time his condition was beyond periodical, hoping thereby to give guidance treatment. During the closing weeks of his to contemporary Dutch musical life. Collec­ life he began putting his musical affairs in tions of his essays were published by Querido order; in his last days he rewrote in meticu­ (Amsterdam) under the title De Quintencirckel lous detail the orchestration to his Concerto (1929) and De Stemvork (1930). for Violoncello and Orchestra, completing the task on February 3, 1947. On March 18 of Pijper's essays are especially important for that year he died at the age of 53. During his an understanding of the fundamentals of his short life he had succeeded in restoring the own compositions and convictions in matters music of his country to a place of prominence of style. At times hampered by a blind faith in in the European musical life of the twentieth his own ideas and direction, Pijper was apt to century attack and criticize rather than to assess objectively And although a remarkably Pijper's appearance must have seemed cerebral musician, Pijper could also be pas­ rather eccentric. He was afraid of dentists and sionate, and this passion led to a number of spoke with his teeth hidden behind his hand historical errors and misjudgments on his and moustache. None the less he had a part about certain of his colleagues. Never­ tremendous influence on his students and theless, these essays have permanent value as thus on modern Dutch music. He taught a document of modern musical history in the many future prominent Dutch composers of Netherlands. the 1950s, 1960s and 1970s: Henriette Bosmans, Rudolf Escher, , Pijper also contributed a crucial chapter on Piet Ketting, Guillaume Landre, Bertus van contemporary music, characteristically enti­ Lier, Karel Mengelberg, , and tled "Van Debussy tot heden," to Bernard later Kees van Baaren. Although quite con­ Smijers' Algemeene Muziekgeschiedenis, which vinced of the merits of his own theoretical appeared in 1957, well after Pijper's death. In and stylistic stance - some would argue he this chapter he quotes with obvious approval was arrogant - Pijper nevertheless encouraged a comment on his compositions by fellow- 14 Canadian Journal of Netherlandic Studies

composer : could have been composed by Brahms or DvoOak, especially the theme itself and the earlier variations in the tradition of late By the analysis of his works, piece Romanticism. The First in F by piece, one could form an minor (1914, D 2"t), dedicated to Johan excellent idea of the gradual shift Wagenaar, reveals similar influences, notably from the tonal system via bi- and that of Brahms. The first movement espe­ pluritonality to the so-called cially makes us think also of DvoOak and atonal one. From the older me­ other Czech models such as Josef Suk in its lodic and polyphonal way of use of the parallel thirds and sixths so typical writing to the poly-melodic style, of these composers. Towards the very end of which necessarily involves the the first movement, however, there are al­ most surprising rhythmical devel­ ready some interesting harmonic shifts, opments as well. 5 announcing the change in style on which Pijper was to embark soon. While the third movement is harmonically closer to Cesar I would like now to trace briefly this Franck, the Scherzo, the second movement, development in Pijper's writing, with is more original, incorporating bi-tonal references to a few musical samples. elements: at one point, for example, a pas­ (The numbers follOwing the "D" in sage for the violin is in C while the other brackets refer to the Discography which three instruments play in the key of E flat. follows the article). One main motif appears in all four move­ ments, an early use of the germ cell tech­ It is not surprising that Pijper's first efforts nique I will discuss below. at composition were heavily influenced by Wagenaar. Like his teacher and most of his The First String Quartet suggests in embry­ contemporaries, Pijper himself began as an onic form the change in idiom which was to epigone of the German late Romantics, occur soon after 1915. At this time Pijper Brahms, Wagner and especially Mahler, went through the first of the several major thanks in no small degree to Mengelberg. shifts one can discern during his career. Hendrik Andriessen has remarked that dur­ He abandoned Romanticism, the musical ing this period Mahler's music was simply the language of Wagenaar and his models, and music, and a Mahler cult, especially with began a process of absorption, emulation regard to the sonorities of the large orchestra and modification of quite different, more and the strong emotions expressed in the modern influences. music, held sway in Holland. 6 A major reason why Pijper felt that Roman­ One of Pijper's earliest works is his Theme ticism (German or otherwise) was no longer and Five Variations for piano (1913, D 31), acceptable, was that he did not share that dedicated to his friend the composer Alexan­ movement's interpretation of the function of der Voormolen. This is conventional and even music. According to Andriessen, "he never epigonal music characteristic of the period; it wished to use musical elements as material to Willem Pijper: An Apen;:u 15

make a sort of portrait of particular feelings. "7 and the earlier French composers. It is a shift This thinking would inevitably lead him that was to have a lasting effect on Pijper's away from the emotionally hyper-charged work. Eventually his turning to French music of Mahler towards a greater degree Impressionism also led him to appreCiate and of intellectualism and abstraction. Indeed, emulate such composers as Erik Satie, after an initial "romantic" phase, the Francis Poulenc, and Darius Milhaud. It "constructivist" element in Pijper's music should be noted that Pijper followed a becomes and remains unusually strong, and tendency that was rather general in the this fact has often been a stumbling block Netherlands in the 1910s and 1920s. A for a more widespread appreciation of Pijper's similar preference for the French tradition music. As a number of critics have rightly can be observed also in the music of Willem pointed out, however, and as I will argue Landre, and indeed a DutchlFrench synthesis below, this does not mean that Pijper's music is characteristic for the whole generation can be classified as similar to the almost after 1915 represented by composers such mathematically conceived music of, for as Daniel Ruyneman, , example, (and perhaps Sem Dresden and . Boris Blacher and even Paul Hindemith). Clear evidence of Pijper's move towards Pijper's intentions were never to purge his French music can also be heard in his music of all emotion, as even a cursory glance Sonatina no. 1 for piano (19l7, D 21 and 22).9 at his scores will reveal. And in any case it For a composer still early in his career, this can be said in favour of the perhaps unusual work already gives an impression of maturity. cerebral character of Pijper's compositions It is in the tradition of the only sonatina that they are, as Andriessen points out, by Ravel. characterized by a high degree of technical competence, which has the advantage that This is not to say, however, that Pijper the music is "never hindered by clumsinesses, became a mere epigone of the French. In his bungling, experiments or empty effects. "8 striving for a style which would break with the Germans, he could not simply move into A relatively greater emphasis on the intel­ another camp. On the contrary, after 1918 lectual element in music may also explain, Pijper entered upon a phase of increasing at least partially, why very early in his experimentation, especially in tonality, that career Pijper came under the sway of can best be understood by analyzing the French music, with its traditional sense of chamber works of the period 1918-1922. order. Manifestations of French tendencies In them, in just a few years, Pijper found a dearly appear in two settings of poems by distinctively modern style and grew into , the Fetes galantes (1916) one of the most advanced composers in and the Romances sans paroles (1918), though Europe. Although he moved particularly in at this stage the influences are older: Cesar the proximity of avant-garde figures like } Franck, Alberic Magnard, Gabriel Faure. Very Schoenberg, Stravinsky and Milhaud, ) quickly, however, it was the influence of Andriessen is nevertheless correct when he Debussy, and to some extent Ravel, that was points out that Pijper's "musicality strove superimposed on that of both the Germans for perfection of his own language. "10 Pijper's 16 Canadian Joumal of Netherlandic Studies

study of Schoenberg's system, for example, he started on his modernistic phase. served primarily to clarify his own ideas, and Unfamiliarity with Pijper's intentions, and he never slavishly embraced dodecaphony. specifically his leanings towards techniques On the other hand, his output during this of the avant-garde, caused alienation, and not period was marked by polymetrics and only in staid Amsterdam. bi-tonality. For Andriessen'the two main characteristics It has been argued that in the orchestral of the period 1920-1934, Pijpers most works of the same period (notably the first representative, are the fact that the traditional two symphonies), influences of Mahler 7 -tone scale is not the basis of the music - and Strauss, especially in the scoring, still instead, all 12-tones in mutual functional predominate. Yet there is a noticeable shift context provide the material for the between the First and the Second Symphony, composition - and that there is an unusually and it is all in the direction of a French strong and sophisticated rhythm at work. hegemony. Though judging from his letters According to E. W Schallenberg, Pijper of 1921 Pijper remained a convinced cultivated in this period a type of "absolute" Mahlerian, and though certain touches in music which is characterized by the following the scoring of the Second Symphony (1921, aspects: a mixture of cerebral and emotional D 29), such as the use of a tenor hom and a elements, particularly visible in the Third mandolin, still suggest Mahler's direct Symphony; polytonality, i.e. the simultaneous influence, Harrison Ryker writes: "Yet how use of scales a triad or a diminished fifth curiously the Mahlerisms are applied! The apart; polyrhythm, i.e. the use of unusual harmonic language is a syncretic mixture metres such as 5/16,9/16, 7/8 time etc.; of Debussy and early Stravinsky ... with and a rejection of "outdated" musical unmistakable poly tonal tendencies; structures, such as simple sonata forms, presumably Milhaud played a role in these."l1 with literal recapitulations, and And Ryker concludes: "It remains a puzzling straightforward variation forms.13 work ... in terms of influences."12 Consistent use of polytonality and The Symphony is certainly a startling polyrhythm occurs for the first time in the and unorthodox work; so much so that First Violin Sonata and the First Sonata. Mengelberg, who was to have conducted As in many compositions of Pijper, the begin­ the symphony with the Concertgebouw, was ning of the Sonata for Violoncello and Piano no. scared off. Ryker writes: 'He did not under­ 1 (1917, D 19 and 20) is traditional, but in stand the music; he found the instrumenta­ the working out of the material, modernistic tion unworkable ... and he felt that the Am­ tendencies can be heard. One may in fact sterdam audience would not accept it." In note the shift from a somewhat "Brahmsian" the end he agreed that the work should be beginning to more acid harmonies within the performed, but Pijper himself was to conduct first minute of playing: Pijper has entered it. The premiere took place on November 2, into his most productive and most innovative 1922. The episode demonstrates some of phase. the problems Pijper would have to face once Willem Pijper: An Apen;;u 17

The search for alternative musical struc­ not an obstacle to inspiration. He was fond tures eventually led Pijper to the theory of the of talking about "inspiratiediscipline," and "germ cell" (kiemcel) as the prime formal maintained that constructions can be filled element of a piece of music. Germ-cells in with emotion. The theory in any case never Pijpers music are musical devices to create became dogma, as perhaps the 12-tone cyclical unity within a particular work - a technique di¢in the case of Schoenberg. very short basic musical unit (not the 12-tone Nor did Pijper rigidly apply polytonality; scale) which is used as a unifying element rather, as in the case of Schoenberg's pupils throughout a composition. A thesis by Hans and , artistic Eduard Mooij, 14 available on the World Wide intuition and mobility of technique remained Web, analyzes this technique in great detail in an integral part of his method, and he was one specific composition by Pijper, the Piano always interested in colour and expression. Sonata no.i. Mooij, like other musicologists, Although some critics have maintained that suggests that the concept may have come since about 1919 Pijper was an atonalist, from Pijper's botanical obserVations as a boy.IS in reality there is no question of Pijper's The Dutch musical historian E W consciously abandoning tonality altogether. Schallenberg has similarly written on this Pijper's bi- or polytonality always aims at topic: harmony as a whole, and the harmonic complexity exists exclusively for the sake of Just as the behaviour of humanity the physical tensions towards which he in general is guided by germ cells aimed - it is the means, but not the object, planted in the childs soul, so like­ of the musical expression. In spite of his wise the course of a composition severe self-discipline and the consistent had to evolve from a found motif, application of his ideas, Pijper remained a logical-illogical, like all growth in composer of strong emotional character. nature. 16 This can be seen in his Third Symphony A pupil of Pijpers, Bertus van Lier, going (1926, D 30), arguably Pijpers most impor­ even further, has given a philosophical sig­ tant composition but also a most controver­ nificance to the idea: ''The 'germ cell' became sial one. Like all of Pijper's symphonies, it is for Pijper the symbol of the everlasting prin­ very short. Pijper's symphonies are in this ciple of which the transient is the manifesta­ respect at the antipodes of Mahler's composi­ tion."17 Starting from the conception that tions. Seen negatively, this may suggest that every work of art arises out of a number of Pijper lacked the ability to write extensive such "germ cells," according to van Lier, movements in the tradition of 19th century Pijper worked with the precision of a math­ composers who were still working when he ematician, drawing his conclusions and then began his own writing. On the other hand, building upon them. IS the trend in 20th century music has in any case been toward shorter, more complex Is this theory an example of the excessive compositions. Pijper preferred to be concise use of technique at the expense of expres­ and he had a dislike for exact repetition. An sion? Pijper believed that constructivism is indication of his desire to achieve concentra- 18 Canadian Joumal of N etherlandic Studies

tion in his ideas may be found in a 1926 ways admired in Pijper the fact that au fond essay published in De Quintencirckel, in which he was not concerned with the world and Pijper expresses his musical views on this cared solely about the purity of his work. "19 It matter: was this independence from other people's opinioris, Andriessep suggests, which at times Bruckner and Mahler could still gave Pijper'scritic(Jl writings an unnecessarily project symphonies of considerable sharp edge. In his review of the symphony he duration. This is no longer possible argues that it also made acceptance of his (indeed, it was not feasible in music more difficult. Mozart's time either) ... Our gen­ eration thinks more efficiently; as To be sure, on a practical level, the sym­ students we trained ourselves to phony's idiosyncratic scoring meant that its survey quickly, to summarize, and smooth incorporation into the repertoire this process will undoubtedly was unlikely. But there are also problems progress further. Symbols of this, of a more fundamental nature. On the our age, are the telegram and ste­ positive side, Andriessen goes on, the work's nography. We no longer have time most important characteristic, its clear and for ornamental letters, no more orderly construction, and the "elaboration disposition for lengthy mediations of the themes," should make it a satisfactory ... With four or five words, a tel­ work for the "contemplative and reflective egram induces whole complexes spirit" of the Dutch. Audiences in Holland which begin to function at the same are not inclined towards Romanticism, instant (Pijper, 1964, p.134, quoted according to Andriessen: they appreciate in translation in Mooij). music in which "passionate feeling is shaped by a fixed form" and therefore tend to prefer Pijper's symphonies follow in general the the symphony.20 But Pijper's circumspection predilection for brevity and compactness ("bedachtzaamheid") at times limits the demonstrated in his chamber music. For that scope of his fantasy and freedom. The most very reason, perhaps, they have failed to problematic aspect of Pijper's music, establish themselves in the hearts of however, is for Andriessen the complexity concertgoers, especially beyond the Nether­ of its harmonies. If one could absorb the lands, though they have earned the respect harmonic elements of Pijper's symphony and at times even the enthusiasm of some more slowly, this difficulty would disappear; very prominent musicians, including - apart but the chords follow each other quickly, and from Mengelberg - , so the harmonic lines and the melodies a.nd Simon Rattle. spawned by their sequence can get lost. The result of his analysis of Pijper's Third leads Writing about a performance of Pijper's Andriessen to categorize it, somewhat para­ Third Symphony by the Utrecht Stedelijk doxically, as at the same time "klassiek, Orkest, Andriessen comments on some of the modem en aktueel." On the one hand its problems associated with this work. He had genuine modernity, by which he means its written elsewhere about Pijper: "I have al- difficult but solid harmonic aspects, gives the .5

Willem Pijper: An Apen;u 19

work its greatest strength, its spontaneity and is roughly contemporary with his third string power, but on the other hand the symphony's quartet. "up-to-dateness" (Andriessen is thinking of the jazz influences here) is its weakness. The 4. The Concerto Jor Piano (1927). This, like work is "classical" because of the unity of the Third Symphony, is an important work, content and fonn, which provide it with the and one which has been played and recorded basis for its ability to last ("duurzaamheid.") many times. It demonstrates yet another And despite his reservations Andriessen aspect of Pijpers openness to the contempo­ concludes: "I am proud that such a work was rary musical scene. Some musicologists have written by a Dutchman. "21 .. argued that Pijper returned to tonal music in the late 1920s, but in this piece bi-tonality is Pijpers progression from Gennan Romanti­ quite noticeable. The predominant influence cism through French Impressionism and, seems to be that of Darius Milhaud; his five after a brief flirtation with the Second Vien­ piano concertos may have provided the nese School, towards his own style (not, it model for Pijper's, and they and his orchestral could be argued, without some tendencies music also extensively employ bi-tonality. towards syncretism) may also be traced with Notice particularly the use of the saxophone profit through his chamber music of the in the first movement: the whole passage is period 1920-1934. I would like to suggest reminiscent of Milhaud's La creation du the following examples: monde, as are also the jazz elements. This is the age of much of the jazz-inspired music of 1. The String Quartet no. 2 (September 1920, Milhaud, Jacques Ibert and Francis Poulenc. D 27). It provides a good example of the Kees van Baaren, a pupil of Pijpers, wrote of second important shift in Pijper's work, the concerto: beyond French Impressionism. Pijper tempo­ The work consists of seven rarily seems to have come under the influ­ sections merging into one an­ ence of the (Arnold other without a break; sections Schoenberg, Alban Berg, Anton Webern). 1, 3, 5 and 7 are for piano and orchestra, 2, 4, and 6 for piano 2. The String Quartet no. 3 (1923, D 24 and D solo. The solo part and the or­ 27). This work is bi- and atonal, but not in chestral section each have their the strict 12-tone system of Schoenberg (as own thematic material, which indicated earlier, Berg and Webern also they develop completely inde­ frequently deviated from this rigid pattern). pendently of one another. We Here Pijper has entered upon his most radical can consequently speak of a phase. counterpoint of autonomous groups analogous to the 3. The Cello Sonata no. 2 (1924, D 19 and D counterpoint of autonomous 20). Despite his openness to modernism, parts from earlier centuries.22 Pijper never became stridently modem - listen to the long melodic line of the cello in 5. The String Quartet no. 4 (1928, D 25 and D the opening movement of this sonata, which 27). In the compositions of the 1920s the 20 Canadian Joumal of N etherlandic Studies

influence of the French remains an important As noted above, Pijper was for a number of aspect of Pijper's music, as can be heard years a critic for the Utrecht newspaper, and in this composition, which is reminiscent of reviewed the concerts by the Utrecht 's only String Quartet. Stedelijk Orkest, of which van Gilse was the conductor. 24 Pijper was extremely critical of 6. The Piano Sonata (1930, D 14).This is one van Gilse, not only of his conducting abilities of Pijper's finest and most important works, but also of his compositions. Van Gilse's most fully demonstrating the possibilities of the famous piece is perhaps the Prologus Brevis for germ-cell technique. All three movements use orchestra. He also wrote the Treurmuzieh bij the musical material with which the first Tijl Uilenspiegel, clearly influenced by Richard movement opens. Its germ-cell consists of the Strauss (the music was recorded by the notes D - A - E - A flat - E flat, and an extra Concertgebouw Orchestra at one time), and B flat, allowing the principle of bi-tonality. five symphonies. Van Gilse suffered under The separate movements are larger and more Pijper's criticism, and eventually abandoned complex than those of the sonatinas. Several his post and left Holland for a while, only of the Sonata's idiosyncracies seem to be returning in 1933. He was the director of the associated with the French composers known Utrecht Conservatory, but from 1937 he as Les Six, the group which formed around decided to devote himself exclusively to Erik Satie in 1918 and stayed together into composition. His heroic behaviour during the the early 1920s.23 war dispelled any notions of his pro-German attitude (two sons died in the Resistance, and Not only may the nature and quality of the he himself hid in the house of the parents of modernist elements in Pijper's musical ideas Rudolf Escher). He died of cancer and was of the "middle period" just discussed be buried in , but not even under his understood effectively by an examination of own name. 25 the evidence in Pijper's own works, as I have suggested in these examples. We may also To compare the two enemies, we may take come to an assessment of the precise degree two examples in similar genres. If we com­ of "radicalism" of these modernistic tenden­ pare van Gilse's String Quartet of 1922 (unfin­ cies by looking at composers roughly con­ ished, only the two central movements have temporary with Pijper. To do this in a system­ been preserved) with the roughly contempo­ atic fashion would be an enormous task and rary Third Quartet by Pijper (D 24 and D 27), would probably show that there is a whole these works appear to be radically different. range of "modernisms" at work in this period A second comparison shows, however, that in in Dutch music. One particularly striking reality, and in retrospect, the two composers contrast, however, may suggest how far and were perhaps not as far apart asthey thought. how quickly Pijper had advanced beyond his In van Gilse's Trio for Flute and Strings of 1927 own initial position as a late Romantic. Let us one can hear echoes of Max Reger's Trio for compare some of his compositions with those the same instruments; Pijper's Woodwind of his arch-rivalJan van Gilse (1881-1944), a Quintet of 1929 (D 8), perhaps because of the man who in a sense remained faithful to this nature of the combination, strikes us as not starting position. so very different in texture and harmony from Willem Pijper: An Apen;:u 21

van Gilse's. Certainly by 1930 Pijper had on the project of Merlijn, a musical drama largely overcome a certain aggressiveness of based on the Arthurian legends, over a pe­ tone; at the same time he began to show a riod of roughly six years. The case of Merlijn preference for older contrapuntal forms such is interesting from the point of view not only as fugues, as can be seen in his Sonata for of musical but also of literary history, since it Violin Solo of 1931 CD 16). involved a cooperation between Pijper and one of Holland's most prominent novelists, In fact, in Pijper's later works the harmonic Simon Vestdijk. expression seems at times once again to approach monotonality, especially in the Six Vestdijk himself was extremely well versed Adagios CD 11), and in the accompaniment to in music. He wrote on the topic on many the "Konijnenlied" in Merlijn. Pijper com­ occasions,28 notably in essays entitled "Mijn pleted the Six Adagios, his last orchestral relaties tot de muziek" and "Het eerste en het work, in 1940; it was published posthu­ laatste: Grondslagen ener praktische mously. Because he borrowed the music from muziekesthetiek. "29 On this topic both Ernst the initiation ritual of the Order of Freema­ Vermeulen C"Vestdijk over Muziek," in the sons, an order in which he held the highest 1968 issue of Raster devoted to Vestdijk) and rank,26 the music has an introverted, sacred Hella Haasse have made enlightening re­ character. The brevity of each of the move­ marks. 30 Vestdijk considered musical compo­ ments is once again proof of Pijper's prefer­ sitions the highest forms of art, and he had a ence for conciseness: in less than ten minutes great admiration for composers. In an inter­ in total, a great variety of textures is dis­ view with Nol Gregoor in 1968 Vestdijk played. The rhythmic variety and the subtle expressed regret that he had not gone into shadings in instrumentation make the piece music and become a composer. But he felt into a fascinating whole, despite the simplic­ that there were even fewer opportunities for ity of its tonality: all movements are in the composers than for writers in Holland. He key of C major! In contrast also with much of would not have considered becoming a Pijper's music, these pieces can be performed conductor, for he considered it a dog's life: by amateurs, which accounts to some extent "Those people are constantly sweating and for their continued.popularity.27 scary," he said; they needed to be very much "aware" and "awfully skilful," which he was Despite such examples of more accessible not. He was too slow, and, according to his works in Pijper's last phase, it has neverthe­ wife, "too lazy." But he had a very large less been argued that the later works show a collection of gramophone records, his only continued prevalence of the cerebral and real hobby.31 abstract over the emotional and, more dam­ aging, a loss of inspiration. In Merlijn specifi­ Pijper wrote Vestdijk a first letter on an cally, Pijper came up against an inherent essay on music which Vestdijk had written in contradiction between his ideal of absolute Het Algemeen Handelsblad. The correspond­ music and the principle of a symphonic ence led to a solid friendship and the intense drama where the music is in the service of a cooperation on Merlijn, which was proposed text. Pijper expended a great deal of energy by Pijper - it is not known when precisely. 22 Canadian Journal of Netherlandic Studies

For Pijper a new musical drama was a logical After a short period of discord, their step after his relatively succesful Halewijn (D differences were patched up and work 5) of 1933,32 which had been performed four continued. The project never reached times in the mise-en-scene by Johan de completion, however, partly because of Meester and Eduard Verkade. But for Vestdijk external circumstances: Vestdijk was interned the project was anything but logical, since he in St. Michielsgest:el, while Pijper became ill was of course primarily known as a prolific and his strength diminished dramatically. novelist. He therefore needed considerable Merlijn, like the Fifth String Quartet (D 25, 26 enthusiasm to be convinced. "I refused," and 27), remained unfinished at Pijpers Vestdijk wrote, "but nobody is as obstinate as death. Pijper! "33 One domain in which the two men met was astrology, about which Vestdijk had "The genius of Will em Pijper (1894-1947) even written a book. The twelve episodes of dominates all modem Dutch music", thus the dramas four acts would each be deter­ the Larousse Encyclopedia oj Music states mined by the signs of the zodiac. unequivocally.35 Indeed, Pijper's unique musical talent, recognized at an early stage The cooperation between Pijper and both nationally and internationally, coupled Vestdijk turned out to be problematic, with his solid grasp of musical theory, his however,34 because of the speed at which the great pedagogical qualities which allowed two worked, with Vestdijk always being well him to influence two generations of pupils, ahead of the slow and methodical Pijper. At and his keen critical powers which he one point Vestdijk in fact delivered his expressed fearlessly in newspapers and finished libretto to his publisher while periodicals, made him a figure who Pijper was still working on the score. towered above his contemporaries. Willem Pijper: An Apen;:u 23

DISCOGRAPHY (from the web site http:// chestra; , condo www.chez.comlcratonlmusiquelpijper/ RNTS 109217.1 R works.htm#dis) 3. Concerto for Violoncello and Orchestra (Note: DAVS = Donemus Audiovisual Service; Heinrich Schiff, 'cello; Netherlands DCV = Donemus Composer's Voice; RNTS = Radio Ch;rmber Orchestra; Ed Spanjaard, Radio Netherlands Transcription Service) condo NM Classics 92040 1. Concerto for Piano and Orchestra Ronald Brautigam, piano; Residentie van Staalen, cello; Rotterdam Philharmonic Orchestra The Hague; Roelof van Orchestra; Vis, condo Driesten, condo DCV 1987-3 R Olympia OCD 315 4. De Boufon, Het patertje langs den kant, Scharmoes for Piano Theo Bruins, piano; Philharmonic Orchestra Robert Moeling, piano of The Netherlands Broadcasting Foundation; Erasmus WVH205 Willem van Otterlo, condo RNTS 6808 10 1 5. Halewijn (Dressing Scene) Elisabeth Lugt, sop.; Sophia van Sante, Theo Bruins, piano; Rotterdam Philharmonic mezzo; Concertgebouw Orchestra; Hans Orchestra; Roelof van Driesten, condo DCV 1 Vonk, condo RNTS 6808 102 Hans Henkemans, piano; Concertgebouw Orchestra; Eduard van Beinum, condo Ruud van der Meer, bar.; Jard van Nes, alto; Philips A02242 L Hein Meens, ten.; Tine Appelman, alto; Marianne Dieleman, alto; Wouter Coedhart, Hans Henkemans, piano; Concertgebouw ten; Omroeporkest; Edward Downs, condo Orchestra; Bernard Haitink, condo DCV 1987-2 RNTS 109204.1 6. La Maumariee 2. Concerto for Violin and Orchestra Jard van Nes, voc. Hettema, piano; Rotterdam Philharmonic GLO 6018 Orchestra; Vis, condo DCV 1987-3 7. Merlijn Ernst Daniel Smid, bar.; Marten Smeding, ten.; Thea van cler Putten, sop.; Jacques Meyer, violin; Philharmonic Orches­ RomainBischoff, bar.; Frank Fritschy, ten.; tra of The Netherlands Broadcasting Founda­ Marianne Hund, alto; Geert Smits, bar.; tion; Ernest Bour, condo Joep Broecheler, bass; loan Micu, ten.; RNTS 6808-099 Rob Sturkenboom, ten.; Palle Fuhr Jorgenson, bass; Mark Peterson, bar.; Theo Olof, violin; Radio Philharmonic Or- Netherlands Radio Philharmonic 24 Canadian Journal of Netherlandic Studies

Orchestra; Men of the Netherlands Radio Rotterdam Philharmonic Orchestra; Choir; , condo Eduard Fipse, condo NM Classics 92055 Philips A 02242 L Rotterdam Philharmonic Orchestra; Simon 8. Quintet for Flute, Oboe, Clarinet, Bas Rattle, condo DCV 1987-3 soon and Horn / Danzi Wind Quintet 13.sonata for Flute and Piano RNTS 6808 101 Hubert Barwahser, flute; Felix de Nobel, piano 9. Septet for Flute, Oboe, Clarinet, Bassoon, RNTS 109568 Horn, Piano and Double Bass Ardito Wind Quintet; , Koos Verheul, flute; piano; Anthony Woodrow, Double Bass Jan van der Meer, piano RNTS 6808102 RNTS 6808 099

10. Sextet for Flute, Oboe, Clarinet, Bassoon, Jolle de Wit, flute; Hans Henkemans, Horn and Piano piano Philharmonic Sextet of The Netherlands DAVS 6904 Broadcasting Foundation RNTS 6808 099 Jacques Zoon, flute; Bernd Brackman, piano 11. Six Adagios NM Classics 92059 Rotterdam Philharmonic Orchestra; Roelof van Driesten, condo 14. Sonata for Piano DCVl Robert Moeling, piano Erasmus WVH205 Rotterdam Philharmonic Orchestra; Eduard Fipse, condo Oliver Majstorovic, piano Philips A 02242 L Hochschule MHS G 8

12. Six Symphonic Epigrams 15. Sonata for Two Pianos Concertgebouw Orchestra; Eduard van Dercksen and Hans Henkemans, piano Beinum, condo Publisher and Number Not Given RNTS 109216.1 16. Sonata for Violin Solo (allegro Concertgebouw Orchestra; Peter Eros, condo maestoso) Theo Olof, violin RNTS 109 51l.2 Y RNTS 6808102

Concertgebouw Orchestra; 17. Sonata No.1 for Violin and Piano Bernard Haitink, condo Nap de Klijn, violin; Hans Henkemans, RNTS 6808 099 piano DAVS 6904 18. Sonata No.2 for Violin and Piano Willem Pijper: An Aperc;u 25

Ronald Hoogeveen, violin; Peter Amati String Quaret Beijersbergen van Henegouwen, piano DAVS 7273-3 DCVl Netherlands Quartet Theo Olof, violin; janine Dacosta, piano DCV 1987-1 RNTS 6808 100 26. String Quartets, 1-5 Herman Salomon, violin; Maria Stroo, piano Schoenberg Quartet RNTS 109571 Olympia OCD 457

19. Sonatas Nos. 1 and 2 for Violoncello 27. Symphony No.1 and Piano Richard Dufallo, condo Wouter Mijnders, 'cello; Peter Publisher and number not given Beijersbergen van Henegouwen, piano DCV 15 28. Symphony No.2 Concertgebouw Orchestra; Bernard Terry King, 'cello; Robert Moeling, piano Haitink, condo Erasmus WVH205 RNTS 6808 100

20. Sonatinas Nos. 1 and 2 for Piano Concertgebouw Orchestra; Rafael Hans Henkemans, piano Kubelik, condo Publisher and number not given RNTS 437-1, 438-1

21. Sonatinas Nos. 1,2, and 3 for Piano Rotterdam Philharmonic Orchetra; Robert Moeling, piano Roelof van Driesten, condo Erasmus WVH205 DCVl

22. Sonatina No.3 for Piano 29. Symphony No.3 Gerard Hengeveld, piano Concertgebouw Orchestra; Eduard van RNTS 6808 10 1 Beinum, condo London LL 851 23. String Quartet No.3 Gaudeamus String Quartet Concertgebouw Orchestra; RNTS 6808 101 Pierre Monteux, condo DCV9 24. String Quartets Nos. 4 and 5 Gaudeamus String Quartet Concertgebouw Orchestra; DCVl Willem von Otterloo, condo RNTS 6808 102 25. String Quartet No.5 Amati String Quartet RNTS 6808 10 1 26 CanadianJoumal of Netherlandic Studies

Residentie Orchestra The Hague; BIBLIOGRAPHy36 Willem von Otterloo, condo DAVS 6601 Will em Pijper herdenkingsnummer. - Hoogland: Scala, 1994. - p.471-534. : ill., muzo ; 23 cm. Richard Dufallo, condo - (Mens &: melodie, jrg. 49, sept. 1994) Publisher and number not given Speciaal nummer..

30. Theme &: Five Variations for Piano Inventaris van de collectie Willem Pijper (1894- Robert Moeling, piano 1947) / samengest. door Kees Thomassen. - Erasmus WVH205 Den Haag: Koninklijke Bibliotheek, 1994. - 85 p.; 30 cm Met lit. opg., reg. ISBN 90- 31. Three Aphorisms for Piano 6259-118-3. Robert Moeling, piano Erasmus WVH205 Merlijn: het ontstaan van een opera in brieven en ; I documenten / Simon Vestdijk & Willem Pijper; 32. Three Songs of Ariel from "The Tempest" verzorgd door Arthur van Dijk en Mieke Inge Frolich, mezzo; The Hague Philhar Vestdijk. - Amsterdam: Nijgh &: Van Ditmar, monic Orchestra; Diego Masson, condo 1992. - 296 p.: ill.; 21 cm Met lit. opg., reg. RNTS 6808 100 ISBN 90-388-7813-3 geb.

33. Trio for Flute, Clarinet and Bassoon Brieven in opmaat van Kathleen Ferrier, Piet Emile Biesen, flute; Sjef Douwes, clari Tiggers, Hendrik Andriessen, Eduard van net; John Mostard, bassoon Beinum, Joze] Krips, Matthijs Vermeulen, Halina RNTS 6808 100 Lukomska, Will em Pijper en anderen / [brieven aan en met commentaar van] Marius 34. Trio for Violin, Violoncello and Piano Flothuis. - Utrecht [etc.]: Veen, cop. 1990. - Ronald Hoogeveen, violin; Wouter 141 p.; facs.; 20 cm ISBN 90-204-1940-4. Mijnders, 'cello; Peter Beijersbergen van Henegouwen, piano Thematisch-bibliografische catalogus van de DCV1 werken van Willem Pijper (1894-1947) / samengest. door WC.M. Kloppenburg. - 35. Trio No.2 for Violin, Violoncello and Assen: Van Gorcum, 1960. - xxxii, 199 p.; Piano muz.; 25 cm Rugtitel: Catalogus van de The Netherlands Piano Trio werken van Willem Pijper. - Een gedeehe van RNTS 109566 de beschrijvingen met samenv. i.h. Engels. - Met samenvattingen in het Engels en reg. 36. Trois vieilles chansons de France Elisabeth Cooymans, mezzo; Duus Will em Pijper herdenking in Amsterdam: maart Hoekman, bass; Cor Backers and Geza 1947 -maart 1957: orkest -concert, kamermuziek, Frid, piano lezingen / [inl. door WC.M. Kloppenburg]. - RNTS 6808 100 [Amsterdam, 1957]. - 16 p.; ill.; in-8. Nederlandse Vereeniging voor Willem Pijper: An Apen;;u 27

Hedendaagsche Muziek. Machlis, Joseph. 1961. Introduction to Contem­ porary Music (first edition), London: J. M. Willem Pijper-nummer / [samengest. onder Dent &1 Son Ltd., 241-250. red. van J. Huibregtsen]. - Voorburg: Maconnieke Stichting Ritus en Tempelbouw, Morowitz, Harold. 1993. "Cell", The New 1953. - 79 p.; ill., muz.; 23 cm. - (Thot, jrg. Grolier Multim7clia Encyclopedia V6.03 (CD­ 4, juli 1953). Bevat ook tekst van Willem ROM), New Haven, Grolier Electronic Pub­ Pijper. - Met samenvatting in het Engels. lishing Inc.

Willem Pijper herdenkingsnummer. - Utrecht Overbeeke, Emanuel. 1994. "Gershwin op [etc.]: Spectrum, 1947. - p.[161]-228 p.; ill., klompen" Mens en Melodie, 49 (September, muz.; 22 cm. Omslagtitel. - Speciaalnr. van: 1994),474-480. Mensch en melodie ; j g. 2, no. 6-7 (1947). - Lijst van werken van W Pijper. Pijper, Willem. 1929-30. " Muzikale Waarde" De Muziek IV (1929-30), 112-116, 145-150, Bosmans, Henriette. 1947. "Pijpers 239-243. Pianocomposities" Mens en Melodie, II Qune­ July 1947), 182-184. ---..:.--- . 1930. De Stemvork: Opstellen over Muziek, Amsterdam: Querido. Gilse-Hooijer, Ada.van. Pijper contra Van Gilse: een rumoerige periode uit het Utrechtse -----. 1938. "Van Debussy tot muziekleven. Utrecht: Bruna, [1963]. - 398 p.; heden" Algemeene Muziekgeschiedenis, edited ill.; 20 cm. - ([Grote beer] ; no. 5). Utrecht, by A. A. Smijers, Utrecht: de Haan, 421-475. Bruna. Bevat uittreksels uit de dagboeken van over de jaren 1917-1922. - Met -----.1964. De QUintencirckel: index. Opstellen over Muziek (fourth enlarged edi­ tion), Amsterdam: Querido. Grijp, L.P. et al. Een mUziekgeschiedenis der Nederlanden. Amsterdam University Press, Reeser, Eduard. 1934. "De pianosonate van 2001. Willem Pijper", Caecilia en de Muziek, XCI (VIII, 1934), 186-192. Hoogerwerf, Frank William. 1974. The Chamber Music of Will em Pijper (1894- 1947), Ryker, Harrison Clinton. 1971. The Sym­ Unpublished Ph. D. dissertation, University phonic Music of Will em Pijper (1894-1947), of Michigan. Unpublished Ph. D. dissertation, University of Washington. Kloppenburg, W C. M. 1960. Thematisch­ Bibliographische Catalogus van de Werken van ----- . 1994. "Willem Pijper en de Willem Pijper (1894-1947) Assen, van kiemcel", Mens en Melodie, 49 (September, Gorcum. 1994),488-495. 28 Canadian Journal of Netherlandic Studies

Scholes, Percy, A. 1970. The Oxjord Compan­ wwwlchez.com/cratonlmusique/pijper/ ion to Music (tenth edition), London: Oxford pijper.htm . The material contained there is University Press. itself based on information provided by Donemus (the institute for the promotion of -----.1980. "Pijper, Willem", in Dutch music) and the books by Ryker and New Grove Dictionary oj Music and Musicians Hoogerwerf quoted in the bibliography. (6th ed.), edited by Stanley Sadie, London: To correspond with Mr.Craton, write to Macmillan, vol. 14, 746-747. [email protected] .

Slonimsky, Nicolas. 1972. Music since 1900 5 "Door de analyse zijner werken, stuk voor (fourth edition), London: Cassel Cst Company stuk, zou men zich een uitstekend denkbeeld Ltd. kunnen vormen van de geleidelijken gang uit het tonale system over bi- en Wouters, Jos. Five centuries oj Dutch music: a pluritonaliteit naar het zoogenaamde atonale. short general survey oj the history oj Dutch music Van de oudere melodiek en polyphone jrom Jacob Obrecht to Willem Pijper / Jos Wouters. schrijfwijze naar den poly-melodischen stijl, - [Herdr.]. - Hilversum: Radio Nederland die, als noodzakelijkheid, tegelijk de me est Wereldomroep, [ca. 1961]. - 69 p.: ill. ; 19 cm. verrassende rhythmische omwentelingen met zich me de brengt." Smijers, Algemeene NOTES Muziekgeschiedenis, Utrecht: W de Haan, 1957, p.504. 1 As the subtitle suggests, this article is intended less as a scholarly discussion than 6 Hendrik Andriessen, Over muziek, Utrecht: as a first introduction to a composer relatively Het Spectrum, n.d., p.91. unknown on the North American continent. For this reason my sources have been 7 " ... dat hij de muzikale elementen nooit restricted for the most part to easily accessible wilde gebruiken als material om een soort ones; for the same reason my musical portret van bepaalde gevoelens te maken" examples are drawn from a discography (ibid). which is still available. My text refers in places to pieces which were recorded but the 8 " ... nooit door onhandigheden, door recordings are not available today. gehaspel, door probeersels, door ijdele effecten gehinderd" (ibid. p.92). 2 Larousse Encyclopedia ojMusic, p.492. 9 Pijper wrote three piano sonatinas. Hans 3 However, composers such as vanBree, Henkemans played all three regularly, and Fodor, Dopper and HoI have managed to they have stayed in the repertoire of many stay or reappear in the repertoire. Dutch pianists.

4 The biographical sketch that follows has 10 Pijper's "muzikaliteit streed om voltooing been adapted - by kind permission - from the van zijn eigen taal" (Andriessen p.92). website maintained by John Craton, http:// -

Willem Pijper: An Apen;;u 29

11 Ryker, in the brochure accompanying the Quoted in the article "Nederland," ibid. vol. 2 CD Donemus CVS 1, p.4. p.385.

12 Ibid. 18 Mooij provides further material in his discussion preceding the analysis of Pijper's 13 Entry on Pijper in the Winkler Prins Piano Sonata of 1930: "In Pijpers music the Encyclopedie van de muziek, Amsterdam: germ-cell is generally presented as a single Elsevier, 1957, vol. 2 p.487. musical idea, which is further developed to create cyclic unity. Cyclic unity is not a new 14 Hans Eduard Mooij: The concept of organic concept in the traditions of Western art development in the Willem Pijper Sonata for music. Cyclic techniques may be found in Piano, Bachelor's thesis (1998) published on music of the late sixteenth century, often in the Web at http://www.music.utas.edu.au/ dance forms such as the pavane and galliard Hanslhans01.htm (no page numbers). (Scholes 1970, p.772). Cyclical concepts may also appear in some music of the seventeenth, 15 "Quite a few sources claim, although with­ eighteenth and nineteenth centuries, where out certainty, that there could be a link be­ movements of a work are connected by tween these germ-cells and Pijpers means of a theme (or themes) common to all botanical interests. It is not certain whether or selected movements. Pijper made a connection between botanical "Cyclic unity was regularly employed in processes and methods of composition, as the music of composers such as Franck, there seems to be no clear indication of this d'indy, Ravel and Debussy, who were all in his own writings. Pijper himself used the influentuial on Pijper's thought during his term for several years (often inconsistently) in formative years (Hoogerwerf 1974, p.57). program notes for his own works ... Pijper Vincent d'indy used the French term 'forme only used the term germ-cell in explanation cyclique' (cyclic form, or cyclical form) and of his music to the general public, and 'cellule' in his treatise Cours de composition never used the term in conversations with musicale (1909) ... Pijper, who was familiar his colleagues and students" (Ryker 1994 with d'Indy's treatise (Ryker 1971, p.214), p. 488, 495, quoted in Mooij). probably saw an analogy between the biologi­ cal process of growth and the musical process 16 "Evenals de handelwijze van de mens in of growth." het algemeen bestuurd wordt door kiemcellen in de kinderziel geplant, zo moest 19 "Ik heb in Pijper altijd bewonderd, dat hij ook het verloop ener compositie evolueren zich au fond van de wereld niets aantrok en uit een gevonden motief, logisch-onlogisch, zich alleen om de zuiverheid van zijn muziek gelijk alle groei in de natuur. "Winkler Prins ... bekommerde." Andriessen p.90. vol. 2 p.487. 20 " ... doorwerken van de themas ... 17 "De 'kiemcel' werd voor Pijper het symbool beschouwende en overwegende geest ... van het onvergankelijke beginsel, waarvan de hartstochtelijkheid in een vaste vorm het vergankelijke de verschijningsvorm is." gestalte heeft." There is much to argue with 30 Canadian Journal of Netherlandic Studies

here. It is difficult, within these parameters, 28 In 1983-84 Meulenhoff published these to understand the enthusiasm of Dutch essays in three volumes. concertgoers, both during the Mengelberg years and ever since, for the music of Richard 29 In the latter essay Vestdijk speaks of the Strauss, and especially for Mahler (a cycle of associations raised by the second intermezzo whose symphonies was recently completed of Bizet's Carmen, ,which plays a crucial role by Ricardo Chailly!) Indeed,Andriessen seems in his De koperen tuin, a novel tracing a to have overlooked Mahler's successful student's musical development. combination of "Romantic" and "symphonic." 30 Hella H. Haasse, "Een koninkrijk voor een 21 "Ik ben er trots op, dat een dergelijk werk lied," MaatstaJ 4/5 (1971), p.299-315. door een Nederlander werd geschreven." Andriessen p.1l5. 31 "Die mensen zijn voortdurend bezweet en vreselijk ... adrem ... ontzaglijk handig .. te 22 Quoted in the brochure accompanying CD lui." Nol Gregoor, "Mijn laatste interview met Olympia OCD 504 (1991). Vestdijk," MaatstaJ 4.5 (1971), p.251-265.

23 George van Renesse premiered the sonata 32 Halewljn is Pijper's only opera. It is based in the Amsterdam Concertgbouw on Febru­ on the medieval "Liedekijn [song] van heer ary 4, 1931. Halewijn." The manuscript originally contained only the libretto written by 24 Van Gilse studied at the Conserva­ Emmy van Lokhorst, based on a poem by tory with F Wullner, and later in with Martinus Nijhoff. This libretto was used Humperdinck. He conducted in Cologne, for the performance of the Wagner­ and Berlin, and from1917 to 1922 in vereniging in 1933. Later on, the "Middle Utrecht. Dutch" adaptation by Erna Buning-Jergens was added and "this libretto was used 25 For a full discussion of this episode in during the performance at the opening Pijper's life, see van Gilse-Hooijer. of the new building of the Boymans Museum in Rotterdam on July 6, 1935, 26 Pijper had been distressed by the poor with Eduard Verkade as producer and quality of the music during his own initiation Corrie Hartong as choreographer." The ceremony. There is some indication that he opera was performed again in 1937 and in may have planned further Masonic music, 1952. (Information from the Koninklijke but his death prevented him from writing it. Bibliotheek, The Hague, A hundred His Masonic funeral was a ceremony of highlights Jrom the Koninklijke Bibliotheek, on exceptional pomp and circumstance. its website http://www.kb.nllkb/100hoogtel hh-en.htmD. Cf. also nos. 86 and 102 in 27 Cf. Ryker's more detailed analysis of the six Kloppenburg's catalogue. movements in the brochure accompanying the CD by Donemus CVS 1, p.7-8. 33 "Ik weigerde, maar niemand is so koppig als Pijper!" iiiii

Willem Pijper: An Aperc;;u 31

34 For a discussion of the cooperation Vestdijk en W Pijper," in Ons ErJdeel 36/4 between these two cultural giants of the (1993),611-13. Netherlands, see Simon Vestdijk en Willem Pijper. Merlijn. Het ontstaan van een 35 Larousse ... p.492. opera in brieven en documenten, verzorgd door Arthur van Dik en Mieke Vestdijk, Amsterdam: 36 This bibliography is based on information Nijgh en van Ditmar, 1992; and also Luc de provided on the website of the Koninklijke Corte: "Merlijn, de onvoltooide opera van S. Bibliotheek in The Hague.