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; Trepidus; Dances
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 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.
This is performed by the ensemble Kaalslag i. They were scarcely listened to, so set up their own groups that would be more flexible and radical and genuinely reflect new musical thinking. By clicking on an affiliate link, you accept that Skimlinks cookies will be set.
Compositional techniques in Louis Andriessen’s “De Stijl” by Joel Matthys on Prezi
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.
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 andtiessen of strange repeated chords that pass through the music near the end — a weirdly disturbing noise that’s both static yet full of energy? Streams Videos All Posts. 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.
Sexy Trippy All Moods. And having inspired a generation of Dutch composers with the violence, anger and sheer energy of pieces such as De Volharding and Workers UnionAndriessen’s music has andriesssen to take a surprising turn towards a more conventional expression and lyricism.
Order by newest oldest recommendations. Introspection Late Night Partying. Topics Music A andrriessen to contemporary classical music.
Louis Andriessen’s “De Stijl” and Rendering Mondrian Musical
Music to change the world? 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. You’ll be as blown away by the energy of De Stijl as I was if you haven’t heard it before.
If only it were true that musical innovation could change the laws of the state!
A guide to Louis Andriessen’s music | Music | The Guardian
Release Date September 26, Andiressen one hand, De Materie is an unclassifiable hybrid of theatre, narration, singing, instrumental music and philosophical reflection. 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 stijo a whole. How does one connect with, and even change, the other? The links are powered by Skimlinks.
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. 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.
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.
Romantic Evening Sex All Themes. 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?
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 sounds that it makes.
De Staat’s politics and unnerving power is only one side of Andriessen’s output.
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.
However, the moment the musical material is ordered it becomes culture and hence a social entity. 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. A conundrum for every conscientious 20th- and 21st-century composer has been how music relates to politics: All our journalism is independent and is in no way influenced by any advertiser or commercial initiative.
One answer can be found by listening to this, an excerpt from year-old Dutch composer Louis Andriessen’s De Staat. The second, a nun’s vision of her union with Jesus, is a magnificently sensual scena for solo female singer and ensemble called Hadewijch.
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Andriessen fans will want this just to have Dances; others should wait until this work finds issue on andrieseen along with recordings that are less disposable. 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 elements of De Staat’s ensemble demonstrate what Andriessen is on about when he says that even the lineup you choose stijo a composer reflects a complex cultural politics.