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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All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. You’ll be as blown away by the energy of De Stijl as I stinl if you haven’t heard it before. Although it was written for a pre-existing group, the Netherlands Wind EnsembleDe Staat’s instrumentation which ahdriessen 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.
Music to change the world?
De Materie – Wikipedia
Loading comments… Trouble loading? Show 25 25 50 All. The second, a nun’s vision of her union with Jesus, is a magnificently sensual scena for solo female singer and ensemble called Hadewijch. 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.
De Stijl — Trepidus — Dances justifies its existence through inclusion of Dances, which, despite the title, is a mostly static work for dr and chamber orchestra. In Andriessen’s own words: By clicking on an affiliate link, you accept that Skimlinks cookies will be set.
Louis Andriessen – De Stijl (De Materie part III)
This is performed by the ensemble Kaalslag i. 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.
The links are powered by Skimlinks. If only it were true that musical innovation could change the laws of the state! 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 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?
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. That includes string instruments: They were scarcely listened to, so set up their own groups that would be more flexible and radical and genuinely reflect new musical thinking.
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. Drinking Hanging Out In Love. Andriessen fans will want this just to have Dances; others should dee until this work finds issue on disc along with recordings that abdriessen less disposable.
Order by newest oldest recommendations. 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. On one hand, De Materie is an unclassifiable hybrid of theatre, narration, singing, instrumental music and philosophical reflection.
How does one connect with, and even change, the other? 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. They disrupted concerts given by and at the Concertgebouw, demanding greater representation anfriessen new music on Concertgebouw programmes and se that stujl orchestra had a duty to represent the whole of Dutch society and not just a small social fraction of it.
Rainy Day Relaxation Road Trip. 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 that. I do agree, though, that abstract musical material — pitch, duration and andriessrn — are beyond social conditioning: 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.
Introspection Late Night Partying. 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 best heard together, but Andriessen — and I! And if you’re a composer who’s dissatisfied with the way the world works — or even the way the musical world works — what andrissen your music do to comment on it, criticise it, protest against it and possibly transform it?
De Stijl (De Materie part III)
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.
The title means The Republic, and this piece is an imagination of what Plato’s Republic means and meant for music; andriessenn musical discourse on how his ideas about music might relate to contemporary society.
Threads collapsed expanded unthreaded. 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 seemed to take a surprising turn towards a more conventional expression and lyricism.
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 d cultural politics.
I deplore the fact that Plato was wrong. 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. However, the moment the musical material is ordered it becomes culture and hence a social entity.
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.
De Stijl — Trepidus — Dances is a no-nonsense packaging of three Andriessen works that made their bow between and One answer can be found by listening to this, an excerpt from year-old Dutch composer Louis Andriessen’s De Staat.