Find album reviews, stream songs, credits and award information for Louis Andriessen: De Stijl; Trepidus; Dances – Louis Andriessen on AllMusic – – The. The elements of De Staat’s ensemble demonstrate what Andriessen is The third, De Stijl (Style), is a boogie-woogie tone-poem inspired by. Pre-proceeding. In the movement “De Stijl” from his oratorio De Materie, Louis Andriessen adapts Piet Mondrian’s Composition with Red, Yellow and Blue .
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How you arrange your musical material, the techniques you use and the instruments you score for, are androessen determined by your own social circumstances and listening experience, and the availability of financial support. But it’s also quintessentially itself, and quintessential Andriessen, because every bar of it has an absolutely compelling materiality see what I’ve done thereboth on the level of the four parts and the cycle as a whole.
That includes string instruments: Jazz Latin New Age. De Staat’s politics and unnerving power is only one side of Andriessen’s output. The links are powered by Skimlinks.
De Stijl (De Materie part III)
This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase. Loading comments… Trouble loading? On one hand, De Materie is an unclassifiable hybrid of theatre, narration, singing, instrumental music stijk philosophical reflection.
Andriessen’s profound affinity with Stravinsky has produced, as well as refractions of Igor’s techniques in his own idiom, one of the best books ever written about the Russian composer, The Apollonian Clockwork.
Louis Andriessen – De Stijl (De Materie part III)
The third, De Stijl Styleis a boogie-woogie tone-poem inspired by Piet Mondrian’s work, and the final panel is dee mesmerising meditation on death, relating musically to a work by Andriessen’s father, the composer Henrik. For the whole piece, you’ll need Spotify, and De Staat is a better reason than most to sign up for it if you haven’t already! How can you resist the aggressive srijl of this music, its moments of gigantic tension and explosive release — such as, for example, the moment when that austere energy created by the four oboes and then the four trombones you hear at the start is suddenly but inevitably shattered by the thrilling wall of sound of the full ensemble?
Don’t bet against it, Louis; maybe Plato was right after all …. Order by newest oldest recommendations.
The thing is, Andriessen’s music really has changed the music of a state — no Dutch composer has been as influential on musical culture, especially in his home country, as Andriessen, and his importance internationally has only expanded as his career has gone on.
By clicking on an affiliate link, you accept that Skimlinks cookies will be set. And if you’re a composer who’s dissatisfied with the way the world works — or even the stikl the musical world dee — what can your music do to comment on it, criticise it, protest against it and possibly transform it? Although the Attacca disc does not provide a great deal of detail about the origin these recordings, they appear to be live, probably of the premiere performances as captured in Dutch radio broadcasts.
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This is performed by anddriessen ensemble Kaalslag i. And having inspired a generation of Dutch composers with the violence, anger and sheer energy of pieces such as Aandriessen Volharding and Workers UnionAndriessen’s music has seemed to take a surprising turn towards a more conventional expression and lyricism. In Andriessen’s own words: However, the moment the musical material is ordered it becomes culture and hence a social entity.
If only it were true that musical innovation could change the laws of the state!
Compositional techniques in Louis Andriessen’s “De Stijl” by Joel Matthys on Prezi
Introspection Late Night Partying. The first, inspired in part by shipbuilding in Holland, is a piece that transmutes its base elements of rhythm and percussion just as the base materials of wood, fabric and metal were crafted into the carriers of Dutch colonial power, and starts with a hammered-out sequence of the same chord, repeated times.
They were scarcely listened to, so set up their own groups that would be more flexible and radical and genuinely reflect new musical thinking. That group was founded as a reproach to the existing behemoths of Dutch classical musical life, which Andriessen and his friends and fellow provocateurs, including conductor Reinbert de Leeuw and pianist Misha Mengelbergfought against in the s and 70s.
De Stijl forms the third part of Andriessen ‘s trilogy De Materie and is one of his major pieces, written as an homage to Dutch abstractionist and boogie-woogie fancier Piet Mondrian. Claron McFadden contributes her marvelously pure and weightless soprano voice to a sensitive, ethereal accompaniment provided by the Netherlands Radio Chamber Orchestra under Gunther Schuller. How does one connect with, and even change, the other? A conundrum for every conscientious 20th- and 21st-century composer has been how music relates to politics: Streams Videos All Posts.
Sexy Trippy All Moods. You’ll be as blown away by the energy of De Stijl as I was if you haven’t heard it before. His music is not always concerned with those fissile social questions, and many of his pieces explore the fundamentals of a listening experience, getting to grips with the raw materials of music.
One answer can be found by listening to this, an excerpt from year-old Dutch composer Louis Andriessen’s De Staat. Even as such, it utilizes features that are readily associated with Andriessenfor example boogie-woogie bass lines, chattering saxophones in the manner of Stravinsky ‘s Ebony Concerto, and highly rhythmic and prominent percussion.
It’s worth saying, however, that — at least until the cuts that are now blighting Dutch musical culture — Andriessen, De Leeuw and the others have now become the de facto music establishment in Holland, thanks to the success of the institutions they set up and the miraculous energy and diversity of the new scene they created with their radical ripostes to the system decades ago.
Although it was written for a pre-existing group, the Netherlands Wind EnsembleDe Staat’s instrumentation which includes harps, pianos, three electric guitars and just four string-instruments — a group of violas reflects Andriessen’s years working with his own band, De Volharding Perseverance, named after another Andriessen piece.
Ditto the fiery moto perpetuo the whole ensemble creates in unison in the middle of the piece, or the waves of strange repeated chords that pass through the music near the end — a weirdly disturbing noise that’s both static yet full of energy?
Release Date September 26, I do agree, though, that abstract musical material — pitch, duration and rhythm — are beyond social conditioning: But he goes on: De Stijl — Trepidus — Dances is a no-nonsense packaging of three Andriessen works that made their bow between and De Stijl — Trepidus — Dances justifies its existence through inclusion of Dances, which, despite the title, is a mostly static work for voice and chamber orchestra.
The piano piece Trepidus, played here by Gerard Bouwhuiscomes off well, but the piece is frankly not one of Andriessen ‘s most inspired ideas, consisting of two outer sections made up of static, dissonant chords and a faster middle section. Andriessen’s piece includes settings — “declaimings” would really be a better word — for four female voices, which illustrate these ideas.
Music to change the world? The title means The Republic, and this piece is an imagination of what Plato’s Republic means and meant for music; a musical discourse on how his ideas about music might relate to contemporary society. In an inevitably reductive nutshell, Andriessen’s music is the sound of the most fruitful of collisions between political radicalism, minimalist pulsation and European modernism; at andriessdn most profound, it’s much more than that. Drinking Hanging Out In Love.
Threads collapsed expanded unthreaded. For me, De Staat is the solar plexus — or at least one of the solar plexi — of Andriessen’s output because it brings together the spectrum of his musical and political thinking, but also because of the sttijl that it makes.