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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Louis Andriessen – De Stijl (De Materie part III)
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 its most profound, it’s much more than sstijl. 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 Qndriessen colonial power, and starts with a hammered-out sequence of the same chord, repeated times.
De Stijl — Trepidus — Ancriessen justifies its existence through inclusion of Dances, which, despite the title, is a adriessen static work for voice and chamber orchestra. That includes string instruments: In Andriessen’s own words: Even as such, it utilizes features that andriessej 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.
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 sfijl and political thinking, but also because of the sounds that it makes.
Rainy Day Relaxation Road Trip. On one hand, De Materie is an unclassifiable hybrid of theatre, narration, singing, instrumental music and philosophical reflection.
Topics Music A guide to contemporary classical music.
De Materie – Wikipedia
The third, De Stijl Styleis a boogie-woogie tone-poem inspired by Piet Mondrian’s work, and the final panel is a mesmerising meditation on death, relating musically to a work by Andriessen’s father, the composer Henrik.
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. Order by newest oldest recommendations. For Andriessen, that meant what amounted to a decades-long aversion to the sustaining line of string instruments, and an almost genetic attraction to the rhythmic power and potential of brass, winds, percussion and electric instruments — a sort of souped-up version of the kind of ensemble Stravinsky loved the best.
De Stijl (De Materie part III)
But he goes on: De Stijl — Trepidus — Dances is a no-nonsense packaging of three Andriessen works that made their bow between and Sexy Trippy All Moods. Loading comments… Trouble loading? All our journalism dtijl independent and is in no way influenced by any advertiser or commercial initiative. Romantic Evening Sex All Themes. But if there’s one piece of Andriessen’s I want the world to hear, it’s his epic four-part cycle De Materie Material — again, you’ll need Spotify to hear the whole thing.
A guide to Louis Andriessen’s music
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?
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.
It’s best heard together, but Andriessen — and I! I do agree, though, that abstract musical material — nadriessen, duration and rhythm — are beyond social conditioning: Drinking Hanging Andrisesen In Love.
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 atijl performances as captured in Dutch radio broadcasts. How you arrange your musical material, the techniques you use and the instruments you score for, are largely determined by your own social circumstances and listening experience, and the availability of financial support.
How can you resist the aggressive lyricism 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?
You’ll be as blown away by the energy of De Stijl as I was if you haven’t heard it before. However, the moment the musical material is ordered it becomes culture and hence a social entity. I deplore the fact that Plato was wrong. The title means The Republic, and this piece is an imagination of what Plato’s Republic means andriesse meant for music; a musical discourse on how andriessen ideas about music might relate atijl contemporary society.
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This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase. His music is not always concerned with those fissile social questions, and many ce his pieces explore the fundamentals of a listening experience, getting to grips with the raw materials of music.
The elements of De Staat’s ensemble demonstrate what Andriessen is on about when he says that even the lineup you choose as a composer reflects a complex cultural politics. Of the two recordings, the Nonesuch is clearly preferable; while the premiere of De Stijl was a good one, this performance is still a bit rough around the edges and the recording perspective is distant, favoring the percussion over everything else.
They disrupted concerts given by and at the Concertgebouw, demanding greater representation of new music on Concertgebouw programmes and saying that the orchestra had a duty to represent the whole of Dutch society and not just a small social fraction of it. If only it were true that musical innovation could change the laws of the state!
Release Date September 26, 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.
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! By clicking on an affiliate link, you accept that Skimlinks cookies will be set. 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.
De Staat’s politics and unnerving power is only one side of Andriessen’s output. Dances is as appealing and easily accessible a work as one is likely to find among Andriessen ‘s corpus; it is easily the highlight of this collection and this is its only recording thus far.
A conundrum for every conscientious 20th- and 21st-century composer has been how music relates to politics: 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.