Belgische Componisten Van Het Interbellum En De Naoorlogse Jaren

Total Page:16

File Type:pdf, Size:1020Kb

Belgische Componisten Van Het Interbellum En De Naoorlogse Jaren Themalijst Belgische componisten van het interbellum en de naoorlogse jaren : Nog meer neo-romantiek , impressionisme, expressionisme en neo-classicisme De generatie geboren tussen 1900 en 1940 - Deel 4 in de reeks “Belgische componisten” De opmerkingen in het vorige deel (deel 3) over de vier stromingen blijven gelden, maar de generatie die in de 20ste eeuw geboren werd, wil vooral de modernistische toer gaan, mede onder invloed van grote internationale voorbeelden als Bartok en Stravinsky. Reeds verschenen in deze reeks zijn: - Deel 1: De Belgische Hedendaagse componisten deel 1 : De modernisten en minimalisten - Deel 2: De Belgische Hedendaagse componisten deel 2 : De postmodernisten - Deel 3: Belgische componisten van de belle-epoque en de eerste helft van de XXste eeuw : De generatie geboren van 1865 tot 1900 De componisten chronologisch De diverse uitvoeringen van de muziek vindt men door op de link onder de titel klikken. Daardoor komt men op de juiste plaats in de provinciale catalogus terecht, waar men moet klikken op “Waar staat het” om de juiste plaatsaanduiding te zien. Indien dit toch niet lukt, contacteer ons dan. We proberen dit probleem voor alle browsers op te lossen. Dus, let goed op: wat u in deze lijst vindt, zit niet noodzakelijk in de Kortrijkse collectie. We zijn ook niet verantwoordelijk voor gebeurlijke in andere bibliotheken waar we naar toe verwijzen. In dat geval kunt u die Cd’s & partituren ook interbibliothecair bestellen aan de schappelijke prijs van anderhalve Euro. Mogelijks zal u merken dat er weinig componisten in deze lijst staan die geboren zijn in de jaren ’20 en ’30. Dat komt omdat er veel componisten van die generatie vermeld staan in deel 1 bij de modernisten. Bij de herwerking van alle lijsten in de toekomst zal ik herbekeken worden. Want een componist als René Defossez en Willem Pelemans mogen met bepaalde werken zeker als modernisten beschouwd worden. 1. Jules Vyverman (1900-1989) ..................................................................................................................... 6 2. Staf Nees (1901-1965) ............................................................................................................................... 7 3. Karel Albert (1901-1987) ........................................................................................................................... 8 4. Marcel Poot (1901-1988)........................................................................................................................... 9 5. Willem Pelemans (1901-1991) ................................................................................................................ 12 6. Fernand Sevenants (1901-1992) ............................................................................................. 16 7. Raymond Chevreuille (1901-1976) ......................................................................................... 16 8. Gaston Brenta (1902-1969) .................................................................................................... 18 9. Antoine Toulemonde (1902-1993) ......................................................................................... 18 10. Leon Stekke (1904-1970) .................................................................................................... 19 11. Jef Rottiers (1904-1985) ...................................................................................................................... 19 12. Armand Preud’homme (1904-1986) ................................................................................................... 22 13. Jef Vermeiren (1904-1999) .................................................................................................................. 26 14. Prosper van Eechaute (1904-1964) ..................................................................................................... 27 15. René Bernier (1905-1984) ................................................................................................... 28 16. Joseph (Jef) Maes (1905-1996) ............................................................................................................ 29 17. René Defossez (1905-1988), ook met pseudoniem Chamaré ............................................ 31 18. Ivo Ceulemans (1905- .......................................................................................................................... 33 19. Gaston Feremans (1907-1964) ............................................................................................................ 34 20. Jef Van Durme (1907-1965) ................................................................................................................. 36 21. Pierre Moulaert (1907-1967) .............................................................................................. 38 22. Camille Schmit (1908-1976) ................................................................................................ 38 23. Jean Middeleer (°1908) ....................................................................................................................... 39 24. Richard de Guide (1909-1962) ............................................................................................ 40 25. Theo Langlois (1909-1971) ................................................................................................. 40 26. Renier Vandervelden (1910-1993) ...................................................................................................... 41 27. Sylvain Vouillemin (1910-1995) ........................................................................................ 43 28. Jacques Stehman (1912-1975) ........................................................................................... 43 29. Jane Vignery (1913-1974) .................................................................................................................... 44 30. Nicolas Alfonso (1913-2001) ............................................................................................................... 45 31. Albert (-Jean) Delvaux (1913-2007) ..................................................................................................... 45 32. Ernest Van der Eyken (1913-2010) ...................................................................................................... 47 33. Jan Decadt (1914-1995) ....................................................................................................................... 48 34. Louel, Jean (1914-2005) ...................................................................................................... 50 35. Marcel Quinet (1915-1971) ................................................................................................ 51 36. Berthe di Vito-Delvaux (1915-2005) ................................................................................... 52 37. Alove Rammaert (1915-2006) ............................................................................................. 53 38. Victor Legley (1915-1994) ................................................................................................................... 54 39. David Van de Woestijne (1915-1979) .................................................................................................. 58 40. Daniel Sternefeld (1915-1986) ............................................................................................................ 60 41. Arie Van de Moortel (1918-1976) ....................................................................................................... 61 42. Gabriel Verschraegen (1919- ............................................................................................................... 62 43. August Verbesselt (1919-2012) ........................................................................................................... 64 44. Jos. Lerinckx (1920- ............................................................................................................................. 66 45. Fernand Marcel Fontaine (1921- ....................................................................................... 67 46. Eric Feldbusch (1922- ......................................................................................................... 67 47. Peter Cabus (1923-2000) ..................................................................................................................... 69 48. Peter Welffens (1924-2003) ................................................................................................................ 70 49. Herman Roelstraete (1925-1985) ........................................................................................................ 72 50. André-Jean Smit (1926-2013) ............................................................................................ 75 51. Louis Marischal (1928- ........................................................................................................ 76 52. Géo Clement (1929-1967) ................................................................................................. 76 53. Nini Bulterijs (1929-1989) .................................................................................................................... 77 54. Juliaan Wilmots (1936-2000) ............................................................................................................... 77 55. Louis Debras (1938- ............................................................................................................................
Recommended publications
  • Let Me Be Your Guide: 21St Century Choir Music in Flanders
    Let me be your guide: 21st century choir music in Flanders Flanders has a rich tradition of choir music. But what about the 21st century? Meet the composers in this who's who. Alain De Ley Alain De Ley (° 1961) gained his first musical experience as a singer of the Antwerp Cathedral Choir, while he was still behind the school desks in the Sint-Jan Berchmans College in Antwerp. He got a taste for it and a few years later studied flute with Remy De Roeck and piano with Patrick De Hooghe, Freddy Van der Koelen, Hedwig Vanvaerenbergh and Urbain Boodts). In 1979 he continued his studies at the Royal Music Conservatory in Antwerp. Only later did he take private composition lessons with Alain Craens. Alain De Ley prefers to write music for choir and smaller ensembles. As the artistic director of the Flemish Radio Choir, he is familiar with the possibilities and limitations of a singing voice. Since 2003 Alain De Ley is composer in residence for Ensemble Polyfoon that premiered a great number of his compositions and recorded a CD dedicated to his music, conducted by Lieven Deroo He also received various commissions from choirs like Musa Horti and Amarylca, Kalliope and from the Flanders Festival. Alain De Ley’s music is mostly melodic, narrative, descriptive and reflective. Occasionally Alain De Ley combines the classical writing style with pop music. This is how the song Liquid Waltz was created in 2003 for choir, solo voice and pop group, sung by K’s Choice lead singer Sarah Bettens. He also regularly writes music for projects in which various art forms form a whole.
    [Show full text]
  • International Choral Bulletin Is the Official Journal of the IFCM
    2011-2 ICB_ICB New 5/04/11 17:49 Page1 ISSN 0896 – 0968 Volume XXX, Number 2 – 2nd Quarter, 2011 ICB International CIhoCral BulBletin First IFCM International Choral Composition Competition A Great Success! Results and Interview Inside Dossier Choral Music in Malaysia, Indonesia, Singapore and Macau 2011-2 ICB_ICB New 5/04/11 17:49 Page2 International Federation for Choral Music The International Choral Bulletin is the official journal of the IFCM. It is issued to members four times a year. Managing Editor Banners Dr Andrea Angelini by Dolf Rabus on pages 22, 66 & 68 Via Pascoli 23/g 47900 Rimini, Italy Template Design Tel: +39-347-2573878 - Fax: +39-2-700425984 Marty Maxwell E-mail: [email protected] Skype: theconductor Printed by Imprimerie Paul Daxhelet, B 4280 Avin, Belgium Editor Emerita Jutta Tagger The views expressed by the authors are not necessarily those of IFCM. Editorial Team Michael J. Anderson, Philip Brunelle, Submitting Material Theodora Pavlovitch, Fred Sjöberg, Leon Shiu-wai Tong "When submitting documents to be considered for publication, please provide articles by CD or Email. Regular Collaborators The following electronic file formats are accepted: Text, Mag. Graham Lack – Consultant Editor RTF or Microsoft Word (version 97 or higher). ([email protected] ) Images must be in GIF, EPS, TIFF or JPEG format and be at Dr. Marian E. Dolan - Repertoire least 350dpi. Articles may be submitted in one or more of ([email protected] ) these languages: English, French, German, Spanish." Dr. Cristian Grases - World of Children’s and Youth Choirs ( [email protected] ) Reprints Nadine Robin - Advertisement & Events Articles may be reproduced for non-commercial purposes ([email protected] ) once permission has been granted by the managing Dr.
    [Show full text]
  • Marcel Poot (Vilvoorde, 8.Mai 1901 – Brüssel, 12
    Marcel Poot (Vilvoorde, 8.Mai 1901 – Brüssel, 12. Juni 1988) Vrolijke ouverture (Fröhliche Ouverture) (1934) Vorwort Marcel Poot begann seine Musikstudien am Königlichen Konservatorium Brüssel mitten im ersten Weltkrieg. Seine wichtigsten Lehrer waren dort Arthur De Greef (Klavier) und Martin Lunssens (Harmonielehre). Ab 1919 setzte er seine Studien am Königlichen Flämischen Konservatorium Antwerpen fort. In der Klasse von Lodewijk Mortelmans erwarb er die Abschlüsse (Premier Prix) in Kontrapunkt und Fuge. Wie so viele seiner belgischen Zeitgenossen nahm er gleichzeitig Privatunterricht bei Paul Gilson, einem ausgezeichneten Komponisten und renommierten Musikpädagogen. Gilson stand in hohem Ansehen, vor allem als Meister der Orchestrierung. Poot sagte mehrmals mit Nachdruck, er hätte Gilson viel zu verdanken. 1925 er wurde Mitglied einer Gruppe belgischer Komponisten (sowohl niederländisch - als auch französischsprachig), die sich aus Anlass des sechzigsten Geburtstags von Gilson unter dem Namen Les Synthétistes zusammengeschlossen hatten. Außer Poot gehörten zu dieser Gruppe: Gaston Brenta, René Bernier, Theo Dejoncker, Robert Otlet, Maurice Schoemaker und Jules Strens. Nach kurzer Zeit schon verließ Otlet die Gruppe und Francis de Bourgignon rückte nach. Dieser bunte Komponistenzirkel hatte in La Revue musicale belge seine eigene Zeitschrift, die von Poot als Chefredakteur geleitet wurde. In dieser Zeitschrift veröffentlichten die Synthétistes ihre Grundsatzerklärung. Die Gruppe stellte den Anspruch, dass sie die Errungenschaften der zeitgenössischen Musik in deutlich umschriebene und gut ausgewogene Formen gießen wollte, also «synthetisieren». Mit der Erwähnung der «deutlich umschriebene Formen» war die Nähe der Synthétistes zu den herrschenden neoklassischen Strömungen gemeint. Gemeinschaftlich publizierten die Synthétistes ein Album mit Klavierwerken (herausgegeben bei den Editions de la Synthèse), aber wegen der sehr unterschiedlichen Charaktere der angeschlossenen Komponisten zerfiel die Gruppe schnell wieder.
    [Show full text]
  • Gentse · Bijdragen ·- Tot De Kunstgeschiedenis En Oudheidkunde
    GENTSE · BIJDRAGEN ·- TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE XXVII (1988) UITGEGEVEN DOOR DE SECTIE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE VAN DE RIJKSUNIVERSITEIT T E GENT MET DE STEUN VAN HET UN IVERSITEITSVERMOGEN GENT 1988 F GENTSE BIJDRAGEN TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE EDITORlAL ADDRESS e.o. Joost Vander Auwera Secretary of the Editorial Board St.-Hubertusstraat 2, B-9000 Gent DISTRIBUTION up to vol. 26: idem from vol. 27 onwards: PEETERS PRESS- P.B. 41 - B-3000 LOUVAIN All rights reserved. No part of this pub/ication may be reproduced, slored in a retrieval system, or transmitted in any form or by any means, e/ectronic, mechanica/ photocopying, recording, or otherwise, without the prior permission of the Faculteit Letteren en Wijsbegeerte, Sectie Kunst­ geschiedenis en Oudheidkunde. Copyright: © Faculteit Letteren en Wijsbegeerte Sectie Kunstgeschiedenis en Oudheidkunde Wettelijk depot: D. 1989/0634/8 ISSN: 0772-7151 GENTSE BIJDRAGEN TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE . 4 XXVII (1988) UITGEGEVEN DOOR DE SECTIE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE VAN DE RIJKSUNIVERSITEIT TE GENT MET DE STEUN VAN HET UNIVERSITEITSVERMOGEN GENT 1988 INHOUDSTAFEL H. F. MusscHE, Holzwege im Laureion Patriek MoNSIEUR, Het Herakteion van Thasos: Een evaluatie van het onderzoek . 8 F.J. DE HEN, Tohu Ubohu en Genesis van de muziekinstrumenten tijdens de middeleeuwen . 21 Juliaan H.A. DE RIDDER, Villard de Honnecourt en de Kabbala . 31 Frieda VAN TYGHEM - Jean VAN CLEVEN, Het kasteel van Moregem bij Oudenaarde ( 1792-1798). Een merkwaardig ensemble uit de 'Direc- toire '-tijd . 39 Sibylle VALCKE, François-Joseph Navez et les peintres primitifs 79 Anthony DEMEY, Een blik in het archief van de Koninklijke Commissie voor Monumenten en Landschappen: Henri Geirnaerf en de kerk van Eksaarde 88 Francisca VANDEPITTE, Het exotisme bij Gauguin .
    [Show full text]
  • EASTMAN NOTES JUNE 2004 Draft: Final Date: 6/15/2004 INSIDE
    NOTES JUNE 2004 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR The right “stu≠” Dear Eastman Alumni: We like Notes’ new look, and it seems you do too. Response has been unani- mously favorable; perhaps we should consider a Steve Boerner–David Cowles NOTES presidential ticket for 2008. I’d vote for them; these two artists made “Notes Volume 22, Number 2 nouveau” a pleasure, and I’m glad the pleasure was conveyed in the magazine June 2004 itself. I write the stuff, but they (and our photographers) make it look good! We also had a tremendous response to our “Eastman Alumni on CD” feature; Editor see pages 33¬34. And enough of you commented on different editorial aspects of David Raymond Notes (not always favorably) that we have a “Letters to the Editor” section, which Assistant editor may be a first for us. Christina Casey This issue of Notes is admittedly filled with history, but Susan Conkling’s re- Contributing writers minder of the great women who shaped both American music and Eastman, and Martial Bednar Amy Blum Paul Burgett’s reminder of four black composers who Christine Corrado played an important part in Eastman history, are stories Contributing photographers worth telling. As is the story of the success of Howard Kurt Brownell Hanson’s Merry Mount at the Met in 1934—a remarkable Gelfand-Piper Photography event, when you think about it. I should add a special Bob Klein Photography word of thanks here to David Peter Coppen, the Sibley Carlos Ortiz Don Ver Ploeg/VP Communications Library Archivist, who is always helpful with providing Amy Vetter historical photographs and other materials for Notes, but Photography coordinator outdid himself for these three articles.
    [Show full text]
  • Lodewijk Mortelmans De Kinderen Der
    Lodewijk Mortelmans De Kinderen der Zee 97 Excerpts from the Opera The Children of the Sea Arias and Orchestral Songs by Lodewijk Mortelmans, Peter Aerts, August de Boeck LIESBETH DEVOS soprano · PETER GIJSBERTSEN tenor WERNER VAN MECHELEN bass–baritone WÜRTTEMBERGISCHE PHILHARMONIE REUTLINGEN In Flanders’ Fields In Flanders’ DIRK VERMEULEN conductor LODEWIJK MORTELMANS 2 LODEWIJK MORTELMANS (1868–1952) Excerpts from the opera De Kinderen der Zee / Te Children of the Sea 46:03 1 Finale Act 3 (Orchestra) 05:36 2 Ivo’s Liefdelied / Ivo’s Love Song (Act 1) 03:48 3 Liefdesduet / Love Duet Ivo & Stella (Act 2) 11:54 4 Ballade van de Zee / Ballad of the Sea (Act 2) (Petrus) 05:23 5 Afscheidsduet / Farewell Duet Stella & Ivo (Act 3) 19:20 6 ELLEN, een Lied van de Smart / ELLEN, a Song of Sorrow (Tenor) 11:04 7 Als de Ziele luistert / When the Soul Listens Lied / Song (Soprano) 03:29 PETER AERTS (1912–1996) 8 In Flanders’ Fields Lied / Song (Tenor) 02:41 AUGUST DE BOECK (1865–1937) 13:58 9 C’est en toi, bien aimé / It is in You, Dearly Beloved Lied / Song (Soprano) 03:03 10 Cantilene van Francesca / Francesca’s Cantilena (Soprano) 04:06 (from the opera La route d’Emeraude / Te Emerald Road 11 Recitatief & Aria van Prinses Zonnestraal /Princess Sun Beam’s Recitative & Aria 06:48 (from the opera Winternachtsdroom / Winter Night’s Dream) (Soprano) TT 77:17 Liesbeth Devos, Soprano (Stella) Peter Gijsbertsen, Tenor (Ivo) Werner van Mechelen, Bass-Baritone (Petrus) Württembergische Philharmonie Reutlingen Dirk Vermeulen, conductor 3 Lodewijk Mortelmans (Antwerpen, 1868-1952) Lodewijk Mortelmans studeerde aan de Vlaamse Muziekschool van Antwerpen.
    [Show full text]
  • The War and Fashion
    F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book.
    [Show full text]
  • The Low Countries. Jaargang 11
    The Low Countries. Jaargang 11 bron The Low Countries. Jaargang 11. Stichting Ons Erfdeel, Rekkem 2003 Zie voor verantwoording: http://www.dbnl.org/tekst/_low001200301_01/colofon.php © 2011 dbnl i.s.m. 10 Always the Same H2O Queen Wilhelmina of the Netherlands hovers above the water, with a little help from her subjects, during the floods in Gelderland, 1926. Photo courtesy of Spaarnestad Fotoarchief. Luigem (West Flanders), 28 September 1918. Photo by Antony / © SOFAM Belgium 2003. The Low Countries. Jaargang 11 11 Foreword ριστον μν δωρ - Water is best. (Pindar) Water. There's too much of it, or too little. It's too salty, or too sweet. It wells up from the ground, carves itself a way through the land, and then it's called a river or a stream. It descends from the heavens in a variety of forms - as dew or hail, to mention just the extremes. And then, of course, there is the all-encompassing water which we call the sea, and which reminds us of the beginning of all things. The English once labelled the Netherlands across the North Sea ‘this indigested vomit of the sea’. But the Dutch went to work on that vomit, systematically and stubbornly: ‘... their tireless hands manufactured this land, / drained it and trained it and planed it and planned’ (James Brockway). As God's subcontractors they gradually became experts in living apart together. Look carefully at the first photo. The water has struck again. We're talking 1926. Gelderland. The small, stocky woman visiting the stricken province is Queen Wilhelmina. Without turning a hair she allows herself to be carried over the waters.
    [Show full text]
  • Literature of the Low Countries
    Literature of the Low Countries A Short History of Dutch Literature in the Netherlands and Belgium Reinder P. Meijer bron Reinder P. Meijer, Literature of the Low Countries. A short history of Dutch literature in the Netherlands and Belgium. Martinus Nijhoff, The Hague / Boston 1978 Zie voor verantwoording: http://www.dbnl.org/tekst/meij019lite01_01/colofon.htm © 2006 dbnl / erven Reinder P. Meijer ii For Edith Reinder P. Meijer, Literature of the Low Countries vii Preface In any definition of terms, Dutch literature must be taken to mean all literature written in Dutch, thus excluding literature in Frisian, even though Friesland is part of the Kingdom of the Netherlands, in the same way as literature in Welsh would be excluded from a history of English literature. Similarly, literature in Afrikaans (South African Dutch) falls outside the scope of this book, as Afrikaans from the moment of its birth out of seventeenth-century Dutch grew up independently and must be regarded as a language in its own right. Dutch literature, then, is the literature written in Dutch as spoken in the Kingdom of the Netherlands and the so-called Flemish part of the Kingdom of Belgium, that is the area north of the linguistic frontier which runs east-west through Belgium passing slightly south of Brussels. For the modern period this definition is clear anough, but for former times it needs some explanation. What do we mean, for example, when we use the term ‘Dutch’ for the medieval period? In the Middle Ages there was no standard Dutch language, and when the term ‘Dutch’ is used in a medieval context it is a kind of collective word indicating a number of different but closely related Frankish dialects.
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Since its launch in 1982, the Marco Polo label has for twenty years sought to draw attention to unexplored repertoire.␣ Its main goals have been to record the best music of unknown composers and the rarely heard works of well-known composers.␣ At the same time it aspired, like Marco Polo himself, to bring something of the East to the West and of the West to the East. For many years Marco Polo was the only label dedicated to recording rare repertoire.␣ Most of its releases were world première recordings of works by Romantic, Late Romantic and Early Twentieth Century composers, and of light classical music. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again, particularly those whose careers were affected by political events and composers who refused to follow contemporary fashions.␣ Of particular interest are the operas by Richard Wagner’s son Siegfried, who ran the Bayreuth Festival for so many years, yet wrote music more akin to that of his teacher Humperdinck. To Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich, Schwarzschwanenreich (The Kingdom of the Black Swan), and Bruder Lustig, which further explores the mysterious medieval world of German legend.␣ Other German operas included in the catalogue are works by Franz Schreker and Hans Pfitzner. Earlier Romantic opera is represented by Weber’s Peter Schmoll, and by Silvana, the latter notable in that the heroine of the title remains dumb throughout most of the action. Marschner’s Hans
    [Show full text]
  • Arthur Meulemans (Aarschot, 19 Mai 1884 – Etterbeek, 29 Juni 1966)
    Arthur Meulemans (Aarschot, 19 Mai 1884 – Etterbeek, 29 Juni 1966) Konzert für Klavier und Orchester Nr. 1 (1941) Allegro Andante poco con moto Allegro con brio Jahrzehntelang spielte Arthur Meulemans im flämischen Musikleben eine entscheidende Rolle als Komponist, Dirigent und Pädagoge. Unmittelbar nach seinem Studium bei Edgar Tinel am Lemmensinstitut Mecheln bekam er dort eine Anstellung als Dozent für Harmonielehre. Von 1916 bis 1930 war er Direktor der Orgel- und Gesangsschule in der Provinz Limburg. Anschließend verzog er nach Brüssel, wo er Chef des Rund-funkorchesters wurde. In dieser Position dirigierte er zahlreiche neue belgische und internationale Werke. Unter dem Einfluss der täglichen Arbeit mit dem Orchester schrieb er eine eindrucksvolle Anzahl symphonischer Kompositionen. Meulemans hinterließ ein sehr umfangreiches Gesamtwerk von über hundert Orchesterwerken (darunter fünfzehn Symphonien und mehr als vierzig Konzertstücke), drei Opern (Adriaan Brouwer, Vikings und Egmont, die alle an der Königlichen flämischen Oper Antwerpen aufgeführt wurden), elf Messen, drei Tedeums, Oratorien, Kantaten, geistlicher und weltlicher Chormusik, Orchester- und Klavierliedern, Kammermusik, ferner Kompositionen für Klavier, Orgel und Glockenspiel. Einen besonderen Platz nehmen seine Freiluftspiele ein. Das bekannteste davon ist Sanguis Christi, eine eindrucksvolle Partitur, die für das Spiel vom Heiligen Blut in Brügge geschrieben wurde. Meulemans dirigierte dieses Werk mit großem Erfolg über fünfzig Mal. In diesem riesenhaften Gesamtwerk ist die überraschend große Anzahl Konzerte besonders augenfällig, womit er ungefähr jedes der gängigen Orchesterinstrumente bedachte. Seine Tätigkeit als Leiter des Rundfunkorchesters regte das Schreiben von konzertanten Werken an, nicht zuletzt da verschiedene Orchestermitglieder ihn um ein Konzert baten. Außerdem schuf Meulemans noch ein Orgelkonzert, zwei Klavierkonzerte und eines für zwei Klaviere.
    [Show full text]