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Playlist of Joep Franssens

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  • Joep Franssens - Harmony of the Spheres

    1:3:23

    Joep Franssens (1955)

    Harmony of the spheres : cycle in five movements for mixed choir a cappella, with mixed choir and strings in part three (2001)

    Movement I - 00:00
    Movement II - 10:10
    Movement III a - 18:15
    Movement III b - 33:45
    Movement IV - 42:36
    Movement V - 49:20

    Netherlands Chamber Choir
    Tallinn Chamber Orchestra
    Conductor: Tõnu Kaljuste

    Dedicated to Tõnu Kaljuste and the Nederlands Kamerkoor


    Program note: Parts can be performed separately. Harmony of the Spheres is also written for other instrumentations.

    Sheet Music available through music publisher Deuss Music:


    Joep Franssens is a Dutch composer. He studied piano in Groningen, and composition in the Hague and Rotterdam with Louis Andriessen and Klaas de Vries respectively. He is representative of the post-serial generation of Dutch composers who use tonal means and an accessible idiom without neo-Romantic features, even if the pathos-laden, highly emotional nature of his music appears to contradict this endeavour. In his works, which consist of chamber music and choral and orchestral works, Franssens aims at a synthesis of monumentality and euphony and is initially guided by J.S. Bach and the Ligeti of Lontano and Atmosphères. Later a trend towards radical austerity becomes apparent under the influence of American minimalist music, East European mysticism (e.g. Pärt) and the symphonic pop music of the 1970s, culminating in the static diatonicism of the ensemble work Dwaallicht (1989) and the serene counterpoint of Sanctus for orchestra (1996, rev. 1999). The instrumentation increasingly shows a preference for warm, luxuriant colours.

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  • joep franssens - dwaallicht

    23:05


    Artwork: Guardians by Nathan Spoor

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  • Joep Franssens - Magnificat

    25:06

    Joep Franssens (1955)

    Magnificat (1999)

    Elma van den Dool, soprano
    Choir: Groot Omroep Koor
    Orchestra: Radio Filharmonisch Orkest
    Conductor: Tönu Kaljuste


    Joep Franssens is a Dutch composer. He studied piano in Groningen, and composition in the Hague and Rotterdam with Louis Andriessen and Klaas de Vries respectively. He is representative of the post-serial generation of Dutch composers who use tonal means and an accessible idiom without neo-Romantic features, even if the pathos-laden, highly emotional nature of his music appears to contradict this endeavour. In his works, which consist of chamber music and choral and orchestral works, Franssens aims at a synthesis of monumentality and euphony and is initially guided by J.S. Bach and the Ligeti of Lontano and Atmosphères. Later a trend towards radical austerity becomes apparent under the influence of American minimalist music, East European mysticism (e.g. Pärt) and the symphonic pop music of the 1970s, culminating in the static diatonicism of the ensemble work Dwaallicht (1989) and the serene counterpoint of Sanctus for orchestra (1996, rev. 1999). The instrumentation increasingly shows a preference for warm, luxuriant colours.

  • Joep Franssens - Phasing

    30:59

    Joep Franssens (1955)

    Phasing : for women's choir and orchestra (1985)

    Orchestra: Nederlands Balletorkest
    Conductor: Thierry Fischer
    Choir: Nederlands Theaterkoor
    Conductor: Hendrik Jan Lindhout

    dedicated to the ASKO koor en orkest


    Joep Franssens is a Dutch composer. He studied piano in Groningen, and composition in the Hague and Rotterdam with Louis Andriessen and Klaas de Vries respectively. He is representative of the post-serial generation of Dutch composers who use tonal means and an accessible idiom without neo-Romantic features, even if the pathos-laden, highly emotional nature of his music appears to contradict this endeavour. In his works, which consist of chamber music and choral and orchestral works, Franssens aims at a synthesis of monumentality and euphony and is initially guided by J.S. Bach and the Ligeti of Lontano and Atmosphères. Later a trend towards radical austerity becomes apparent under the influence of American minimalist music, East European mysticism (e.g. Pärt) and the symphonic pop music of the 1970s, culminating in the static diatonicism of the ensemble work Dwaallicht (1989) and the serene counterpoint of Sanctus for orchestra (1996, rev. 1999). The instrumentation increasingly shows a preference for warm, luxuriant colours.

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  • Joep Franssens - Sanctus

    21:01

    Joep Franssens (1955)

    Sanctus : for orchestra (1996)

    Orchestra: Nederlands Balletorkest
    Conductor: Thierry Fischer

    written for het Residentie Orkest


    Joep Franssens is a Dutch composer. He studied piano in Groningen, and composition in the Hague and Rotterdam with Louis Andriessen and Klaas de Vries respectively. He is representative of the post-serial generation of Dutch composers who use tonal means and an accessible idiom without neo-Romantic features, even if the pathos-laden, highly emotional nature of his music appears to contradict this endeavour. In his works, which consist of chamber music and choral and orchestral works, Franssens aims at a synthesis of monumentality and euphony and is initially guided by J.S. Bach and the Ligeti of Lontano and Atmosphères. Later a trend towards radical austerity becomes apparent under the influence of American minimalist music, East European mysticism (e.g. Pärt) and the symphonic pop music of the 1970s, culminating in the static diatonicism of the ensemble work Dwaallicht (1989) and the serene counterpoint of Sanctus for orchestra (1996, rev. 1999). The instrumentation increasingly shows a preference for warm, luxuriant colours.

  • Joep Franssens, Grace

    16:44

    Joep Franssens, Grace

    Yvette Bonner, soprano
    Netherlands Radio Philharmonic Orchestra
    Vasily Petrenko, conductor

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  • Joep Franssens - Echos

    26:48

    Joep Franssens (1955)

    Echo's : voor orkest (1983)

    Orchestra: Nederlands Balletorkest
    Conductor: Thierry Fischer


    Joep Franssens is a Dutch composer. He studied piano in Groningen, and composition in the Hague and Rotterdam with Louis Andriessen and Klaas de Vries respectively. He is representative of the post-serial generation of Dutch composers who use tonal means and an accessible idiom without neo-Romantic features, even if the pathos-laden, highly emotional nature of his music appears to contradict this endeavour. In his works, which consist of chamber music and choral and orchestral works, Franssens aims at a synthesis of monumentality and euphony and is initially guided by J.S. Bach and the Ligeti of Lontano and Atmosphères. Later a trend towards radical austerity becomes apparent under the influence of American minimalist music, East European mysticism (e.g. Pärt) and the symphonic pop music of the 1970s, culminating in the static diatonicism of the ensemble work Dwaallicht (1989) and the serene counterpoint of Sanctus for orchestra (1996, rev. 1999). The instrumentation increasingly shows a preference for warm, luxuriant colours.

  • Composer Joep Franssens - Piano Concerto

    5:15

    Video portrait of composer Joep Franssens, featuring his Piano Concerto.

    First performance 11th of November 2015 by Noord Nederlands Orkest conducted by Tõnu Kaljuste, in De Oosterpoort in Groningen.

    Music published by Deuss Music.



    More information about the work:


    Video by Philming/ Marieke Rodenburg.

  • Joep Franssens - Roaring Rotterdam

    16:19

    Joep Franssens (1955)

    Roaring Rotterdam : for orchestra (1997)

    Orchestra: Radio Filharmonisch Orkest
    Conductor: Gerd Albrecht

    dedicated to Kees Vlaardingenbroek


    Joep Franssens is a Dutch composer. He studied piano in Groningen, and composition in the Hague and Rotterdam with Louis Andriessen and Klaas de Vries respectively. He is representative of the post-serial generation of Dutch composers who use tonal means and an accessible idiom without neo-Romantic features, even if the pathos-laden, highly emotional nature of his music appears to contradict this endeavour. In his works, which consist of chamber music and choral and orchestral works, Franssens aims at a synthesis of monumentality and euphony and is initially guided by J.S. Bach and the Ligeti of Lontano and Atmosphères. Later a trend towards radical austerity becomes apparent under the influence of American minimalist music, East European mysticism (e.g. Pärt) and the symphonic pop music of the 1970s, culminating in the static diatonicism of the ensemble work Dwaallicht (1989) and the serene counterpoint of Sanctus for orchestra (1996, rev. 1999). The instrumentation increasingly shows a preference for warm, luxuriant colours.

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  • Composer Joep Franssens - The Gift of Song

    10:37

    The Gift of Song is a composition by Dutch composer Joep Franssens. Originally for two pianos, this version is performed by pianist Ralph van Raat live and on tape. Location Muziekgebouw aan 't IJ, Amsterdam.

    More information about the composer

    The sheet music is available through

    More information about the work:


    Video by Philming, Marieke Rodenburg.

  • Ralph van Raat - Etude nr. 2 - Joep Franssens | Podium Witteman

    5:37

    Ralph van Raat
    Joep Franssens
    Etude nr.2
    Meer informatie over het werk is te vinden op de site van uitgeverij Deuss Music:

    Podium Witteman omarmt de wereld van de klassieke muziek, maar zoekt ook de grenzen op met andere genres zoals pop, wereldmuziek, of jazz. Met ruimte voor bijzondere verhalen, jong talent en optredens van topmusici.

    Abonneer op ons kanaal:

  • Joep Franssens, Sanctus

    18:22

    Joep Franssens, Sanctus

    The Netherlands Philharmonic Orchestra
    Yakov Kreizberg, conductor

    Live recording Concertgebouw Amsterdam 27-6-2006

    Joep Franssens (1955) studied composition at the Royal Conservatory in The Hague. In 1982 he continued his studies at the Rotterdam Conservatory, where, in 1988, he concluded his study period with the Composition Prize.

    Although Franssens’ multifaced musical style does not make it easy to classify him, he is often regarded as the Dutch representative of the so called New Spirituality in the Netherlands. In his music Franssens aims to express the Universal; his sources of inspiration are to be found amongst writers and philosophers like Fernando Pessoa and Baruch de Spinoza. In a rich tonal language his music evokes strong emotions by the public, both unacquainted with contemporary classical music as well as specialised listeners. In 2004 the recording of his major choral work Harmony of the Spheres reached the seventh rank of the classical charts in The Netherlands.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Joep Franssens - Harmony of the Spheres

    1:3:23

    Joep Franssens (1955)

    Harmony of the spheres : cycle in five movements for mixed choir a cappella, with mixed choir and strings in part three (2001)

    Movement I - 00:00
    Movement II - 10:10
    Movement III a - 18:15
    Movement III b - 33:45
    Movement IV - 42:36
    Movement V - 49:20

    Netherlands Chamber Choir
    Tallinn Chamber Orchestra
    Conductor: Tõnu Kaljuste

    Dedicated to Tõnu Kaljuste and the Nederlands Kamerkoor


    Program note: Parts can be performed separately. Harmony of the Spheres is also written for other instrumentations.

    Sheet Music available through music publisher Deuss Music:


    Joep Franssens is a Dutch composer. He studied piano in Groningen, and composition in the Hague and Rotterdam with Louis Andriessen and Klaas de Vries respectively. He is representative of the post-serial generation of Dutch composers who use tonal means and an accessible idiom without neo-Romantic features, even if the pathos-laden, highly emotional nature of his music appears to contradict this endeavour. In his works, which consist of chamber music and choral and orchestral works, Franssens aims at a synthesis of monumentality and euphony and is initially guided by J.S. Bach and the Ligeti of Lontano and Atmosphères. Later a trend towards radical austerity becomes apparent under the influence of American minimalist music, East European mysticism (e.g. Pärt) and the symphonic pop music of the 1970s, culminating in the static diatonicism of the ensemble work Dwaallicht (1989) and the serene counterpoint of Sanctus for orchestra (1996, rev. 1999). The instrumentation increasingly shows a preference for warm, luxuriant colours.


    Netherlands Chamber Choir/Tallinn Chamber Orchestra

    Álbum - Franssens: Harmony of the Spheres

  • Joep Franssens - Harmony of the Spheres IV

    4:52

    Podium Witteman
    NPO

    ©

  • Grace - Joep Franssens 1/2

    9:20

    Fairly new piece by Joep Franssens
    1/2

    part two here:

    Documentary video about this piece:


    18/10/2008
    Radio Filharmonisch Orkest
    Vasily Petrenko
    Yvette Bonner [soprano]

    NPS
    Koninklijk Concertgebouw, Amsterdam

    -----
    for you dutchies out there:
    Voor de ZaterdagMatinee, in opdracht van de NPS, schreef Franssens Grace. Het Engelse woord grace heeft twee betekenissen. In de eerste plaats kan men het vertalen als gratie, waardige schoonheid, elegantie. In de tweede plaats duidt de titel ook op de onvoorwaardelijke genade van God voor de menselijke ziel (na de biecht: staat van genade). Grace is een orkestwerk van ruim een kwartier. Het is geschreven voor een grote bezetting: veel hout en koper, pauken en drie slagwerkers (voor grote trom, wind chimes, grote bekkens, tamtam en buisklokken), celesta, piano en strijkers. Een enigszins versterkte, tekstloze sopraanstem fungeert als orkestinstrument. Deze sopraan is binnen het ensemble v?de hoge houtblazers gesitueerd. De aanduiding warme, rijke expressie geldt als instructie voor het hele werk, dat kleurrijk over alle orkestgroepen en instrumenten is verdeeld. Het stuk verlangt alle dynamische mogelijkheden binnen een muziek, die kan zwelgen, maar ook intens verstillen bij een solo van de althobo, of in de slotmaten voor celesta, piano en strijkers. Yvette Bonner, sopraansolo. Radio Filharmonisch Orkest en Groot Omroepkoor o.l.v. Vasily Petrenko. Regie: Rob van den Berg.

  • Joep Franssens - Harmony of the Spheres

    1:3:23

    Joep Franssens (*1955)

    Harmony of the Spheres
    (1994-2001)

    Cyclus in 5 movements
    (version for mixed choir and string orchestra)

    Movements 2,4, written for choir a cappella.
    Movement 1,3 and 5 written for mixed choir and strings.
    Parts can also be performed seperately

    Text (Latin) by Spinoza

    Dedicated to Tõnu Kaljuste and The Netherlands Chamber Choir.

    I: 10' (in 8 parts)
    II: ,7'30 ( in 4 parts)
    III: , 26'15 ( in 8 parts)
    IV: , 6' (in 4 parts)
    V: 14'30 (in 8 parts)

    total duration: 66'

    Commissioned by the Eduard van Beinum Foundation and Amsterdam Fund for the Arts, with a contribution of Ton Boersma and The Fund for the Creation of Music.

    Tõnu Kaljuste - conductor
    Tallinn Chamber Orchestra
    The Netherlands Chamber Choir

  • Franssens - Between The Beats

    22:54

    The opening and ending in this video contains music by Luca Attanasio, Aria (album Penta). To purchase the album on iTunes:

    Composers in this playlist: Jeroen van Veen, John Adams, John Borstlap, John Cage, Philip Glass, Simeon ten Holt, Tom Johnson, Wim Mertens, Carlos Michans, Friedrich Nietzsche, Michael Nyman, Arvo Part, Terry Rilley, Eric Satie, Yann Tiersen, Jacob ter Veldhuis, Klaas de Vries.
    This unusual collection is dedicated to a very popular style: minimal music. Over the years this has evolved from austere, almost strict repetition with tiny ‘movements’ to a more varied and free approach to material and technique.
    This set includes works for piano solo by most of the famous ‘minimal’ composers. Starting with initiator, if you will, Cage, and followed by the first generation entirely devoting itself to this style: Riley and Glass (Steve Reich did not write anything for solo piano). The next generation is represented by John Adams and Michael Nyman (his music for the film The Piano).
    Dutch pianist Jeroen van Veen is fascinated by minimal music. He was one of the initiators and participants of the highly successful complete recordings on 11 CD’s of Simeon ten Holt’s, a Dutch ‘minimalist’, complete works for multiple piano’s. On this solo album van Veen demonstrates his affinity with minimalism with great flair.
    The repertoire included here also comprises compositions by Satie, Friedrich Nietzsche and Arvo Pärt. There are two CD’s with music by the pianist himself and several recordings of minimal pieces by other present-day French, Belgian and Dutch composers.
    This attractive set will appeal to a wide audience and sheds light on the present state of minimalism.

  • Franssens - Entrata

    17:32

    The opening and ending in this video contains music by Luca Attanasio, Aria (album Penta). To purchase the album on iTunes:

    Composers in this playlist: Jeroen van Veen, John Adams, John Borstlap, John Cage, Philip Glass, Simeon ten Holt, Tom Johnson, Wim Mertens, Carlos Michans, Friedrich Nietzsche, Michael Nyman, Arvo Part, Terry Rilley, Eric Satie, Yann Tiersen, Jacob ter Veldhuis, Klaas de Vries.
    This unusual collection is dedicated to a very popular style: minimal music. Over the years this has evolved from austere, almost strict repetition with tiny ‘movements’ to a more varied and free approach to material and technique.
    This set includes works for piano solo by most of the famous ‘minimal’ composers. Starting with initiator, if you will, Cage, and followed by the first generation entirely devoting itself to this style: Riley and Glass (Steve Reich did not write anything for solo piano). The next generation is represented by John Adams and Michael Nyman (his music for the film The Piano).
    Dutch pianist Jeroen van Veen is fascinated by minimal music. He was one of the initiators and participants of the highly successful complete recordings on 11 CD’s of Simeon ten Holt’s, a Dutch ‘minimalist’, complete works for multiple piano’s. On this solo album van Veen demonstrates his affinity with minimalism with great flair.
    The repertoire included here also comprises compositions by Satie, Friedrich Nietzsche and Arvo Pärt. There are two CD’s with music by the pianist himself and several recordings of minimal pieces by other present-day French, Belgian and Dutch composers.
    This attractive set will appeal to a wide audience and sheds light on the present state of minimalism.

  • Joep Franssens- Blue Encounter

    7:58

    Sarah Oates performing Blue Encounter by Joep Franssens at Radboud University Nijmegen.

  • 32614

    7:26

    Provided to YouTube by Dig Dis

    32614 · Dwaallicht

    Welkin

    ℗ Analogical Force

    Released on: 2019-12-09

    Composer Lyricist: Dwaallicht

    Auto-generated by YouTube.

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  • Harmony of the Spheres: I. First Movement

    10:11

    Provided to YouTube by The Orchard Enterprises

    Harmony of the Spheres: I. First Movement · Netherlands Chamber Choir · Tallinn Chamber Orchestra · Joep Franssens · Tõnu Kaljuste

    Franssens: Harmony of the Spheres

    ℗ 2016 Composers Voice

    Released on: 2004-10-20

    Auto-generated by YouTube.

  • Joep Franssens Harmony of the Spheres, deel IV, Franz Liszt Kamerkoor, olv Eric Jan Joosse

    6:59

    Concert op 21 november 2010 in de Amstelkerk, Ouderkerk a/d Amstel

  • Grace - Joep Franssens 2/2

    9:15

    2/2

    Documentary video about this piece:


    18/10/2008
    Radio Filharmonisch Orkest
    Vasily Petrenko
    Yvette Bonner [soprano]

    NPS
    Koninklijk Concertgebouw, Amsterdam

  • Joep Franssens Grace & Bach

    2:18

    In de ZaterdagMatinee van 18 oktober wordt de premiere uitgevoerd van Joep Franssens: Grace. Hij schreef dit werk in opdracht van de NPS Radio op verzoek van de ZaterdagMatinee.
    Franssens praat in dit fragment over hoe hij bestanddelen van Bach's werken in zijn muziek introduceert.

  • Harmony of the Spheres - Joep Franssens

    2:57

    excerpts of Harmony of the Spheres - Joep Franssens
    performed by the Amstel Quartet & Una Cintina (organ)
    -part III-

    live @ Het Orgelpark
    10-10-2010
    Amsterdam






  • Joep Franssens Grace & Bach 2

    1:02

    In de ZaterdagMatinee van 18 oktober wordt de premiere uitgevoerd van Joep Franssens: Grace. Hij schreef dit werk in opdracht van de NPS Radio op verzoek van de ZaterdagMatinee.
    Franssens praat in dit fragment over twee manieren van Bach om zijn tekst weer te geven in de muziek.

  • Doulce Memoire - Harmony of the Spheres - Joep Franssens

    12:12

    Harmony of the Spheres, composed by Joep Franssens (*1955), performed by chamberchoir Doulce Memoire conducted by Felix van den Hombergh, performed during concert on June 10th 2012 in Overveen, The Netherlands



    Toelichting door dirigent Felix van den Hombergh: Dit werk is niet echt tweekorig geschreven, maar het werkt wel zo omdat er één groep is die steeds op de tweede achtste van een tel inzet of wisselt van toon, terwijl de andere groep dat één tel later op de derde triool-achtste doet. Soms doen vier stemmen dat op hetzelfde moment, maar meestal verglijdt de muziek in een oceaan van schijnbare ritmeloosheid. Het stuk moduleert de hele kwintencirkel rond (m.a.w. vanaf drie kruizen steeds een kruis erbij tot er overgegaan moet worden naar 6 mollen, dan afbouwend per mol, tot weer uitgekomen wordt bij die drie kruizen). Deze modulaties vinden soms snel na elkaar plaats, maar er zijn ook hele bladzijden in één toonsoort.

    Tekst uit: Ethica van Baruch de Spinoza
    vertaling: Nico van Suchtelen

    Hominibus apprime utile est, consuetudines jungere,
    seseque iis vinculis astringere, quibus aptius de se omnibus unum efficiant,
    & absolute ea agere quæ firmandis amicitiis inserviunt.
    Animi tamen non armis, sed Amore, & Generositate vincuntur.

    Het is voor de mensen van het hoogste belang met elkaar om te gaan,
    zich zodanig bij elkaar aan te sluiten, dat zij meer en meer tezamen één eenheid vormen
    en in het algemeen alles te doen wat strekt tot versterking van vriendschap.
    Toch worden harten niet door wapenen, maar door Liefde en Edelmoedigheid overwonnen.

  • Rick Franssens - Lady Love

    4:33

  • VU-Kamerkoor: Harmony of the Spheres • Joep Franssens

    2:17

    Buy the CD at or
    See more from VU-Kamerkoor here:

    JOEP FRANSSENS
    HARMONY OF THE SPHERES
    Version 2010

    VU-KAMERKOOR
    ENSEMBLE WATERLOO
    BOUDEWIJN JANSEN • Conductor

    This recording makes use of only the natural acoustics of the recording location. No use of electronic enhancement has been made.


    LYRICS MOVEMENT III
    (From Spinoza's 'Ethica more Geometrico')
    Per Deum intelligo ens absolute infinitum, hoc est, substantiam constantem infinitis attributis, quorum unumquodque æter- nam, et infinitam essentiam exprimit.

    By God I understand what is of absolutely infinite being, that is, a substance consisting of an infinity of attributes, of which each one expresses an eternal and infinite essence.

    JOEP FRANSSENS
    Joep Franssens is a proud representative of the 'New Spirituality' in modern music in the Netherlands. Franssens aims in his music to express the universal, his sources of inspiration are amongst others, the poet Pessoa and the philosopher Spinoza. In a rich tonal language, his music evokes strong emotions in both a public unacquainted with contemporary classical music as well as specialized listeners. From the start of Franssens' career, his music has been performed outside the Netherlands. He has worked with choirs such as the Swedish Radio Choir, BBC Singers, Latvian National State Choir and the Netherlands Chamber Choir. The latter took Franssens music on tour through Europe and the USA, led by the Estonian conductor Tõnu Kaljuste. Well-known conductors like Yakov Kreizberg, Lucas Foss, Gerd Albrecht and Daniel Raiskin performed his works with the Netherlands Philharmonic Orchestra, Rotterdam Philharmonic Orchestra, Radio Philharmonic Orchestra, Tallinn Chamber Orchestra and the Lodz Philharmonic Orchestra.

    VU-KAMERKOOR
    The VU-Kamerkoor was founded in 1968 and consists of 30 young, experienced choral singers. Most of them are rooted in the Amsterdam student community. Since 1991, the chamber choir has been under the direction of Boudewijn Jansen. Its main objective is to expertly perform choral music from a wide variety of stylistic periods. This results in concerts that vary from classical to contemporary music. Over the years, the chamber choir has worked with several special guests, like the renowned Bach specialist Ton Koopman, the Russian-Dutch cellist Dmitri Ferschtman, Armenian composer Tigran Mansurian and the American composer Frank Ferko. The latter wrote the composition 'La Remontée des Cendres' especially for the VU-Kamerkoor.

    ENSEMBLE WATERLOO
    Ensemble Waterloo was founded by Boudewijn Jansen in 2009 and consists of the finest players from the major orchestras and chamber music ensembles in Holland, including the Royal Concertgebouw Orchestra.

    COLOFON
    Recording • 13th of May and 21st of June 2011
    Location • Pieterskerk • Utrecht
    Music publishing • Deuss Music • Managed by Albersen Verhuur BV
    Recording producer and editor • Sem de Jongh
    Recording engineer • Frans de Wolff
    Production assistent • Martijn Comes
    Liner notes and translation • René van Woudenberg
    Graphic design and photography • Chantal Bekker • GraphicAlert

  • Simeon ten Holt ‎- Canto Ostinato - Original 1984 Live Recording

    2:45:19

    The first recording of Simeon ten Holt's 1979 magnum opus Canto Ostinato released as a triple album off-label, then reissued on Donemus. Performed on four pianos by Arielle Vernède, Cees van Zeeland, Gene Carl and Gerard Bouwhuis at the Music Centre of Vredenburg, Utrecht on February 12th 1984.

  • Greetings from Holland

    3:00

    The Amstel Quartet plays sections from three Dutch compositions: J.Pzn. Sweelinck - Chromatic Fantasy, M. Simons - L'espoir, J. Franssens - The Straight Line.

  • Harmony of the Spheres: II. Second Movement

    8:04

    Provided to YouTube by The Orchard Enterprises

    Harmony of the Spheres: II. Second Movement · Netherlands Chamber Choir · Tallinn Chamber Orchestra · Joep Franssens · Tõnu Kaljuste

    Franssens: Harmony of the Spheres

    ℗ 2016 Composers Voice

    Released on: 2004-10-20

    Auto-generated by YouTube.

  • Harmony of the Spheres: III. Third Movement II

    8:59

    Provided to YouTube by The Orchard Enterprises

    Harmony of the Spheres: III. Third Movement II · Netherlands Chamber Choir · Tallinn Chamber Orchestra · Joep Franssens · Tõnu Kaljuste

    Franssens: Harmony of the Spheres

    ℗ 2016 Composers Voice

    Released on: 2004-10-20

    Auto-generated by YouTube.

  • Minimal Piano Collection Vol. XIII - XV by Jeroen van Veen

    3:55:23

    Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play):
    More information:
    Spotify:
    Facebook page:

    Composers: Various Composers
    Artist: Jeroen van Veen, Sandra van Veen, Marcel Bergmann, Elizabeth Bergmann, Tamara Rumiantsev (pianos)

    The Minimal Piano Collection for one piano ended with “In C” by Terry Riley. Many of the composers on this new 11 Cd box have stated that this particular piece was a starting point for them to compose in a new way, exploring the ways that were created, the spaces between the notes, the emptiness, the freedom.

    Elizabeth Bergmann & Marcel Bergmann, Tamara Rumiantsev and Sandra van Veen & Jeroen van Veen recorded 83 compositions. From two pianos up to six pianos, from Steve Reich ‘standard’ Pianophase to Six Pianos.

    The composers on this new box are John Adams, Jurriaan Andriessen, Louis Andriessen, Marcel Bergmann, William Duckworth, Julius Eastman, Douwe Eisenga, Morton Feldman, Graham Fitkin, Joep Franssens, Kyle Gann, Philip Glass, Gabriel Jackson, Tom Johnson, Simeon ten Holt, David Lang, Colin McPhee, Chiel Meijering, Wim Mertens, John Metcalf, Carlos Michans, Meredith Monk, Arvo Pärt, Michael Parsons, Alexander Rabinovitch, Steve Reich, Frederic Rzewski, Tim Seddon, Jeroen van Veen, Jacob ter Veldhuis and Kevin Volans.

    Get carried away by the new black box; 854 minutes of wonderful music, enjoy the Minimal Piano Collection, let the journey begin including a few recording premieres!

    Morton Feldman:
    00:00:00 Two Pianos
    Bergmann & Van Veen:
    00:17:45 Two Pianos on Strings
    Morton Feldman:
    00:25:56 intermission 6
    Bergmann & Van Veen
    00:40:08 Bach in Strings for 4 Pianos
    Morton Feldman
    00:52:22 Piece for four Pianos

    John Adams
    01:18:02 Hallelujah Junction

    Colin McPhee:
    01:34:37 Balinese Ceremonial Music: Pemoengkah
    01:37:18 Balinese Ceremonial Music: Gambangan
    01:39:20 Balinese Ceremonial Music: Taboeh Teloe
    01:44:07 Rebong
    01:47:15 Lagoe Tjondong
    01:53:00 Gabor Gong

    Marcel Bergmann:
    01:54:24 Morning Train
    01:59:01 Midnight Journey
    02:03:28 incessant Bells
    02:11:00 Boogie Mania

    Carlos Michans:
    02:17:48 Joy

    Douwe Eisenga
    02:25:20 Cloud Atlas

    Chiel Meijering:
    02:36:54 Joke
    02:39:17 Fast, cheap and out of control
    02:45:49 Floating into space
    02:50:48 She dissappears in my dreams
    02:55:07 A place of coolness
    02:59:36 Kissing her lips
    03:01:53 Don’t put me in your box
    03:06:10 Why is the flag fluttering in the wind
    03:17:31 HypNosis
    03:22:27 Go where the angels are
    03:27:08 Berceuse
    03:29:50 I found a new baby
    03:32:48 Riddle with 3 eyes
    03:36:50 Hammond
    03:39:24 Don’t ever leave me again
    03:42:28 The roof of blue glass

    A. Pärt, arr. J. Van Veen:
    03:46:18 Phasing on Arvo Pärt

  • Joep Franssens en Petrenko 2

    44

    In de ZaterdagMatinee van 18 oktober wordt de premiere uitgevoerd van Joep Franssens: Grace. Hij schreef dit werk in opdracht van de NPS Radio op verzoek van de ZaterdagMatinee.
    Franssens praat in dit fragment met de dirigent Petrenko over het gewenste tempo van zijn compositie.

  • Joep Franssens en Petrenko over Grace

    1:22

    In de ZaterdagMatinee van 18 oktober wordt de premiere uitgevoerd van Joep Franssens: Grace. Hij schreef dit werk in opdracht van de NPS Radio op verzoek van de ZaterdagMatinee.
    Franssens praat in dit fragment met de dirigent Petrenko over de laatste wijzigingen in de partituur.

  • Harmony of the Spheres: V. Fifth Movement

    14:03

    Provided to YouTube by The Orchard Enterprises

    Harmony of the Spheres: V. Fifth Movement · Netherlands Chamber Choir · Tallinn Chamber Orchestra · Joep Franssens · Tõnu Kaljuste

    Franssens: Harmony of the Spheres

    ℗ 2016 Composers Voice

    Released on: 2004-10-20

    Auto-generated by YouTube.

  • Harmony of the Spheres

    8:37

    Sinfonia Rotterdam em 03 de novembro de 2012 no Teatro Adamastor - Guarulhos - SP.

  • Echo || Joep Franssens

    8:27

    Joep Franssens en uno de los compositores clásicos-contemporáneos que mas me gustan. Aunque no muy conocido por el público general, su obra (junto con las obras de otros compositores) revolucionaron la música moderna.
    Echo (1983) fue escrita para 4 flautas, 3 oboes, 3 trompetas, vibráfono, marimba y cuerdas, aunque el movimiento que uso es solo de cuerdas. Domina la disonancia y genera una atmósfera muy especial y profunda, y me pareció que calzaba perfectamente con el sonido del drum and bass clásico. Ese bien oscuro (notaran el guiño que le hice a Aphex Twin).
    Espero que les guste.

    Género: Contemporánea
    Estilo: Drum & Bass / Clásica
    Año: 2017

    ---------------------------------------------------------
    Les dejo la página oficial de Joep Franssens para que lo conozcan:

  • Harmony Of The Spheres 1

    1:47

    Provided to YouTube by Universal Music Group

    Harmony Of The Spheres 1 · Steve Miller Band

    Italian X Rays

    ℗ 1984 Capitol Records, LLC

    Released on: 1984-01-01

    Producer: Steve Miller
    Composer Lyricist: Byron Allred

    Auto-generated by YouTube.

  • Harmonie of the spheres

    10:09

    Photos/Vidéo: jean-pierre Boënnec
    Musique: Tiziana Romeo - Joep Franssens

  • OBA Live 1 mei 2014 - De zeepkist met Rick Franssens 1/2

    5:00

    Na in meer dan 10 verschillende bands te hebben gespeeld als gitarist, zanger, bassist en drummer wist Rick Franssens wat hij écht wilde... Alleen op een podium met zijn eigen muziek. In de zomer van 2011 vloog hij naar Canada met zijn gitaar en een tas vol kleren om zich te storten in het singer/songwriter circuit. En nu is er een album: Toronto Stories.

  • Sinfonia Rotterdam - Guarulhos 1/2

    40:14

    Data: 03/11/12
    Realização: Secretária da Cultura de Guarulhos, EATON
    Local: Teatro Adamastor, Guarulhos - SP

    Joseph Haydn (1732-1809)
    Joep Franssens (1955)
    Wolfgang Amadeus Mozart (1841-1904)

  • Joep Straesser - Ramasasiri

    11:24

    Joep Straesser (1934-2004)

    Ramasasiri : for soprano and five instrumentalists (1968)

    Djoke Winkler Prins, soprano
    Lucia Arendsen, flute
    Polo de Haas, piano
    Peter Lakey, percussion
    Anno Appelo, percussion
    Paul Jönsthövel, percussion
    Arie van Beek, conductor


    Program note (English): The text consists of words from several of the Papuan languages spoken in New Guinea, in the compilation of which the composer consulted J.C. Anceaux, a specialist in Papuan languages at Leiden University. 'Ramasasiri' means travelling-song. Songs of this kind are sung by the members of tribes travelling - usually by canoe - through regions inhabited by other tribes. Their texts contain words from the languages spoken by the local tribes. The inclusion of such 'foreign' words is intended to propitiate them and to show that the travellers have no hostile intentions.
    The composer's intentions cannot be termed hostile either. Though the song has not been written as neutral entertainment, he feels that everyone has the right to use it as background music. At the same time, however, he feels that putting it to this use would be rendering it less than justice. The work has a message which is not textual - the words are incomprehensible and are used for their phonetic value - but musical in the sense in which music itself is a kind of language which, properly understood, induces communication between the composer and the listener. 'Ramasasiri' belongs to the so-called avant-garde music of the fifties and sixties, even though it is not a strictly serial work. The basis for this trend was laid at the beginning of the century by great innovators like Debussy, Webern, Schoenberg and Varèse, who introduced profound changes into the musical thinking of the twentieth century. Despite these changes, however, and despite the existence of a musical landscape that would have been inconceivable a century ago, certain elements remain unchanged in all kinds of music and in all kinds of interpersonal communication. Music is a complex system of relations between components of different kinds and between specific aspects of those components. Music fluctuates between non-alteration, stability, alteration and deviation, though that fluctuation it not constantly in balance. The listener can decide for himself with which parts of 'Ramasasiri' he feels more certain, and with which parts he feels more uncertain; his feelings of uncertainty about any particular part will not necessarily disappear after repeated hearing. The element of uncertainty has been introduced deliberately by the composer (and by many other composers, past and present). An essential part of music, it is bound up with the way in which themes and structures are handled. The development of the first movement of Beethoven's third symphony engenders no less excitement, is no less unique, after repeated hearing, for the exposition allows scope for the retention of all its qualities. So it is a matter of guiding, of carefully directing the listener, which is a challenge for both the composer and the audience. - JOEP STRAESSER

    Joep Straesser was a Dutch composer. He studied at the University of Amsterdam (musicology) and at the Amsterdam Conservatory (organ with Anthon van der Horst; composition with Ton de Leeuw). In 1962 he was appointed professor of music theory (and from 1975 composition) at the Utrecht Conservatory (retired 1989).
    Straesser became interested in the music of the Second Viennese School and the post-war avant garde as a result of his studies with de Leeuw, and during the 1960s he used freely serial and aleatory techniques in his music. In pieces such as 22 Pages (1965), based on Cage's book Silence, and Ramasasiri (1968), a multi-layered composition based on a travel song from the Papuan people of Papua New Guinea, Straesser combines experimental innovation with musical intuition, with the result that his music never sounds dry or academic.
    With the ‘Spring’ Quartet (1971) Straesser abandons the idea of radical parametric composing, using and transforming a theme from Beethoven's String Quartet Op. 131. With his organ piece Splendid Isolation (1977) he admitted consonant harmonies for the first time and, having reconquered traditional elements without betraying his earlier interest in experimental composing, wrote the short opera Über Erich M. (1985–1986) and three symphonies. His denial of tradition gradually became a dialogue with tradition, as is shown by the reference to Mahler in his Third Symphony (1992). At first sight his music may have changed considerably over the years, but permanent features include a technical facility and a density of structural and motivic coherence resembling the music of Webern and Beethoven.

  • Ralph van Raat ontvangt de Ovatie 2019: de klassieke muziekprijs van de VSCD | Podium Witteman

    1:40

    Ralph van Raat ontvangt de Ovatie 2019: de klassieke muziekprijs van de VSCD

    Podium Witteman omarmt de wereld van de klassieke muziek, maar zoekt ook de grenzen op met andere genres zoals pop, wereldmuziek, of jazz. Met ruimte voor bijzondere verhalen, jong talent en optredens van topmusici.

    Abonneer op ons kanaal:

  • Symmetry Unravelled - CERN docu trailer official

    1:55

    original trailers on our Vimeo account:
    online blog:
    follow the project:

    ---

    Directed by: Juliette Stevens

    Starring:
    Robbert Dijkgraaf
    Michael Doser
    John Ellis
    Ariane Koek
    Ruben van Leer
    Lukáš Timulak
    Claron McFadden
    Celia Amade
    Martin Butler
    Joep Franssens
    Cedric Kiefer
    Tom Geraerdts

    Collabs:
    Heleen Blanken
    Jurre de Beer
    Paul Özgür
    Marc de Meijer
    Hagen Rothke
    Miami Aerials
    Mieneke Kramer
    Hielke Praagman
    Joep Franssens
    Henry Vega
    Remi Lindenhovius
    Susanne Keilhack
    Sjaan de Bruijn
    Michiel Rummens
    Sander Verdonk
    Denis Wigman
    Thomas den Drijver
    Julie Ng

    more info:


    more info:


    Arts@CERN:

  • Joep Straesser - Symphony No. 3

    17:49

    Joep Straesser (1934-2004)

    Symphony III : for orchestra (1991-1992)

    1. Sinfonia - 00:00
    2. Tombeau - 06:22
    3. Riflessione e scherzo - 10:31
    4. Finale - 14:56

    Orchestra: Radio Filharmonisch Orkest
    Conductor: Edo de Waart

    dedicated to Jan Zekveld


    Program note (Dutch): Mijn Symphony III neemt ten opzichte van de eerste en tweede symfonie in een bepaald opzicht een tussenpositie in. De eerste symfonie Tableaux vivants uit 1988 is geheel gebaseerd op muziek uit mijn opera Über Erich M.. De tweede symfonie Symphony for strings uit 1989 daarentegen kent slechts 'eigen' muziek. De Symphony III laat in de delen 1 en 4 'eigen' muziek horen, terwijl de delen 2 en 3 zijn gebaseerd op eerder gecomponeerd werk. Het tweede deel Tombeau, waaraan geen houtblazers deelnemen, is gebaseerd op het derde deel uit Quintuplum voor 5 koperblazers (1988) en het derde deel Scherzo is een orkestrale - en dus geheel instrumentale visie op het derde deel uit de cyclus An die Musik (1991) voor mezzosopraan en strijkkwartet op teksten van Rainer Maria Rilke. ! In Symphony III nu heb ik deze 'interne' herhalingstechniek, waarbij het dus gaat om het werken met het materiaal dat binnen het stuk zelf ontstaat, gecombineerd met een 'externe' herhalingstechniek, waarbij het gaat om muziek die 'van buiten' (dus uit andere stukken) komt. Dat levert weer interessante mogelijkheden op in die zin dat 'oud' materiaal dat in een andere context komt te staan met 'nieuw' materiaal kan worden gecombineerd. Het is hier overigens wel van belang op te merken dat een dergelijke manier van werken in eerste instantie vooral interessant is voor de componist zelf. Een publiek dat de oorspronkelijke context van het oude materiaal niet kent zal de muzikale gang van zaken uitsluitend op zichzelf kunnen beoordelen. De reden dat ik in de derde symfonie, naast de interne herhalingstechniek ook voor de externe heb gekozen heeft te maken met het feit dat ik er van op de hoogte was dat mijn stuk op het programma zou worden gecombineerd met de vierde symfonie van Gustav Mahler. Zoekend naar een of andere 'link' met Mahlers werk kwam ik op het idee om, evenals hij in vooral zijn eerste Lieder eines fahrenden Gesellen maar ook in zijn vierde Antonius von Padua Fischpredigt heeft gedaan, elementen uit ander werk te gebruiken. Ook Mahler moet zich trouwens hebben gerealiseerd dat de Lieder eines fahrenden Gesellen bij vroegere uitvoeringen van de eerste symfonie voor grote delen van het publiek niet bekend waren, zodat ook in dat geval de muzikale werking van het 'oude' materiaal alleen op zich beoordeeld kon worden. - JOEP STRAESSER

    Joep Straesser was a Dutch composer. He studied at the University of Amsterdam (musicology) and at the Amsterdam Conservatory (organ with Anthon van der Horst; composition with Ton de Leeuw). In 1962 he was appointed professor of music theory (and from 1975 composition) at the Utrecht Conservatory (retired 1989).
    Straesser became interested in the music of the Second Viennese School and the post-war avant garde as a result of his studies with de Leeuw, and during the 1960s he used freely serial and aleatory techniques in his music. In pieces such as 22 Pages (1965), based on Cage's book Silence, and Ramasasiri (1968), a multi-layered composition based on a travel song from the Papuan people of Papua New Guinea, Straesser combines experimental innovation with musical intuition, with the result that his music never sounds dry or academic.
    With the ‘Spring’ Quartet (1971) Straesser abandons the idea of radical parametric composing, using and transforming a theme from Beethoven's String Quartet Op. 131. With his organ piece Splendid Isolation (1977) he admitted consonant harmonies for the first time and, having reconquered traditional elements without betraying his earlier interest in experimental composing, wrote the short opera Über Erich M. (1985–1986) and three symphonies. His denial of tradition gradually became a dialogue with tradition, as is shown by the reference to Mahler in his Third Symphony (1992). At first sight his music may have changed considerably over the years, but permanent features include a technical facility and a density of structural and motivic coherence resembling the music of Webern and Beethoven.

  • Joep Straesser - Signals and echoes

    11:37

    Joep Straesser (1934-2004)

    Signals and echoes : for 11 players and bass clarinet solo (1982)

    Harry Sparnaay, bass clarinet
    Ensemble M
    Conductor: David Porcelijn

    dedicated to Ton Hartsuiker en het Ensemble M


    Program note (Dutch): Signals and Echoes is opgebouwd uit plusminus tien verschillende muzikale materialen, waarvan de meeste een signaal-achtig karakter hebben. Behalve deze signaal-motieven bevat het stuk nog twee 'melodieën' en een in verschillende gedaantes optredend ostinato. Het stuk is verdeeld in tien secties waarvan de eerste tot en met de vierde sectie het eerste deel vormen; de vijfde tot en met achtste het tweede deel en de negende en tiende het derde deel. In de eerste twee secties wordt al het materiaal geëxposeerd; in de rest van het stuk wordt voortdurend gevarieerd en verwerkt. De basklarinet die als een 'soort' solist optreedt - het stuk is bepaald niet als concert bedoeld! - heeft een speciale rol toebedeeld gekregen; hij fungeert namelijk als een 'aangever', een soort 'trendsetter', die het te behandelen onderwerp aandraagt en aanreikt aan het ensemble. Soms echter is het ensemble hem vóór en holt hij achter de feiten aan, kortom er is sprake van een zekere vorm van dialektiek tussen solist en ensemble. Voor het gehele werk geldt een zeer speciale manier van behandeling van het muzikale materiaal, uitgezonderd de twee 'melodieën'. Deze speciale behandeling wordt in de titel van het stuk aangegeven door het woord 'echoes'. Elk gegeven dat aan de orde wordt gesteld leidt onmiddellijk tot echo-achtige gevolgen in andere instrumenten en soms zelfs, zoals in sectie 9, waar sprake is van een 'Coda con candenza', in hetzelfde instrument dat zijn eigen echo's speelt. Het is hier ook weer de basklarinet die deze 'nieuwe vondst' introduceert, strijkers met piano en slagwerk nemen deze geste over. De wijze van componeren die ik ten aanzien van dit stuk heb gebezigd is langzamerhand geheel tegengesteld aan de manier waarop ik in composities van vroeger te werk ging. Planning vooraf ontbreekt geheel; het componeerproces blijkt zich te ontwikkelen vanuit een bepaald idee, een gekozen
    uitgangspunt zonder dat ik vooraf een vastomlijnd idee heb waar ik uit zal komen. De 'taal' van het stuk vormt zich al werkend, wordt uiteraard gerubriceerd en leidt tot nieuwe consequenties. Voor mijzelf een avontuurlijke en boeiende manier om te werken. Laten we hopen dat Signals and Echoes ook boeiend zal zijn om naar te luisteren! - JOEP STRAESSER

    Joep Straesser was a Dutch composer. He studied at the University of Amsterdam (musicology) and at the Amsterdam Conservatory (organ with Anthon van der Horst; composition with Ton de Leeuw). In 1962 he was appointed professor of music theory (and from 1975 composition) at the Utrecht Conservatory (retired 1989).
    Straesser became interested in the music of the Second Viennese School and the post-war avant garde as a result of his studies with de Leeuw, and during the 1960s he used freely serial and aleatory techniques in his music. In pieces such as 22 Pages (1965), based on Cage's book Silence, and Ramasasiri (1968), a multi-layered composition based on a travel song from the Papuan people of Papua New Guinea, Straesser combines experimental innovation with musical intuition, with the result that his music never sounds dry or academic.
    With the ‘Spring’ Quartet (1971) Straesser abandons the idea of radical parametric composing, using and transforming a theme from Beethoven's String Quartet Op. 131. With his organ piece Splendid Isolation (1977) he admitted consonant harmonies for the first time and, having reconquered traditional elements without betraying his earlier interest in experimental composing, wrote the short opera Über Erich M. (1985–1986) and three symphonies. His denial of tradition gradually became a dialogue with tradition, as is shown by the reference to Mahler in his Third Symphony (1992). At first sight his music may have changed considerably over the years, but permanent features include a technical facility and a density of structural and motivic coherence resembling the music of Webern and Beethoven.

  • Neil Ardley - Kaleidoscope Of Rainbows

    54:47

    00:00 - 10:26 01 Prologue_Rainbow One
    10:26 - 18:01 02 Rainbow Two
    18:01 - 21:29 03 Rainbow Three
    21:29 - 27:44 04 Rainbow Four
    27:44 - 32:09 05 Rainbow Five
    32:09 - 39:48 06 Rainbow Six
    39:48 - 54:46 07 Rainbow Seven_Epilogue

    Alto Saxophone, Soprano Saxophone, Flute – Barbara Thompson (tracks: A1, A2, A4 to B4), Bob Bertles
    Bass – Roger Sutton
    Cello [Acoustic, Electric] – Paul Buckmaster
    Conductor, Synthesizer – Neil Ardley
    Design – Gull Graphics, John Pasche
    Drums – Roger Sellers
    Electric Piano, Synthesizer – Dave MacRae (tracks: A1 to B1, B4), Geoff Castle
    Engineer – Martin Levan
    Guitar – Ken Shaw
    Percussion, Vibraphone – Trevor Tomkins
    Photography By – Phil Jude
    Producer – Paul Buckmaster
    Sleeve Notes – Derek Jewell, Neil Ardley
    Tenor Saxophone, Clarinet, Bass Clarinet – Tony Coe
    Tenor Saxophone, Soprano Saxophone, Flute, Alto Flute – Brian Smith
    Trumpet, Flugelhorn – Ian Carr

    Recorded at Morgan Studios, London, 1976.
    Special Thanks to Colin Richardson & Ian Carr.
    Kaleidoscope of Rainbows commissioned by the Camden Festival with the aids of funds provided by the Arts Council of Great Britain.

  • Sinfonia Rotterdam - Guarulhos 2/2

    17:34

    Data: 03/11/12
    Realização: Secretária da Cultura de Guarulhos, EATON
    Local: Teatro Adamastor, Guarulhos - SP

    Joseph Haydn (1732-1809)
    Joep Franssens (1955)
    Wolfgang Amadeus Mozart (1841-1904)

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