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Playlist of List of Dutch composers

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  • The Great Composers Pt. 1 : The Dutch Composers 1

    13:45

    It's based on the list of Dutch composers from Wikipedia.

    Some composers aren't included because I can't find any music of them.

    Dedicated to my subscribers

    Dutch composers born in other countries are also included.

    And PLEASE give me your favorites from this part! (It's for the recap.)

    * Konrad Boehmer passed away in October 4, 2014.

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  • Baroque Music from The Netherlands

    1:11:41

    Baroque Music from The Netherlands

    1. Johann Christian Schickhardt Concerto for flute, 2 oboes, strings in G minor 0:00
    2. Anton Wilhelm Solnitz Sinfonia in A major, Op 3/4 16:29
    3. Johannes Albertus Groneman Flute Concerto in G major 28:28
    4. Willem de Fesch Concerto for 2 violins,in B flat major, Op 10/2 36:26
    5. Johannes Albertus Groneman Flute Concerto in Gmajor 45:44
    6. Conrad Friedrich Hurlebusch Concerto in A minor for 2 oboes 1:00:04

    Musica ad Rhenum

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  • The Best Organ Music from the Dutch Golden Age

    1:15:41

    Tracklist below.

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    Composers: Cornelis Schuyt, Jan Pieterszoon Sweelinck
    Artist: Matthias Havinga

    This attractive collection brings together organ music from the Dutch Golden Age; a period of great prosperity and power for the Republic of the Netherlands. During this era culture blossomed, with art, particularly painting and music, reaching a hitherto unknown level of refinement as exemplified in the works of Rembrandt and Sweelinck, among others.

    Cities of the Republic were centers of power, and the position of city organist was one of great prestige, as he was essentially responsible for coordinating local musical culture. His musical adaptability led him to compose in all manner of forms, as can be heard on this release – which effectively offers a postcard from the Dutch Golden Age through its variety of compositions: psalm arrangements, fantasias, dances and secular songs. As arguably the greatest Dutch composer of all time, Jan Pieterszoon Sweelinck’s music is a particularly prominent feature of the disc. Of his contrasting variation sets, many were based on secular songs (whose subjects range widely): More Palatino is a bawdy drinking song and Mein junges Leben hat ein End a melancholic melody in the ‘vanitas’ style, linking closely to popular themes in paintings of the time. Of the musical psalm settings for the organ, which were used to accompany the singing of a massed congregation and also performed during public “concerts” while people wandered through the church in great numbers, Anthoni van Noordt’s setting of Psalm 24 is particularly notable, beginning soberly, featuring an adventurous, expressive second variation, and ending grandly with the melody in the pedal. The Faber/Blank organ of the Jacobuskerk,

    Zeerijp, is well suited to the repertoire; dating from 1651, it was reconstructed to its original condition in 1979. In the hands of Matthias Havinga, who has won prizes at various international organ competitions and performed extensively in many European countries and in the USA, it is essential in recreating the sound world of the music as closely as possible.

    This beautiful programme, recorded in 2014, brings us back to the Golden Age of the Netherlands, the 16th and 17th century, in which cultural life blossomed thanks to the economical prosperity brought by the overseas trade. Wealthy merchants commissioned works by artists like Rembrandt, Vermeer, Ruischdael and others. Also musical life flourished, and musicians from all over Europe came to hear and study with Jan Pieterszoon Sweelinck. Organist Matthias Havinga selected a beautiful bouquet of works by Dutch composers: Sweelinck, Van Noordt, Schuyt, Havingha (an ancient ancestor of the artist..?) and others.

    00:00:00 Fantasia chromatica in D Minor à 4 SwWV 258
    00:08:37 Almande Gratie [More Palatino] SwWV 318 [4 variations]
    00:13:02 6 Variations on “Mein junges Leben hat ein End” in A Minor, SwWV 324
    00:20:13 XLIX. Wilhelmus – XIV. Almande prynce
    00:22:15 Psalm 118 “Dancket den Heer seer hoogh’ ghepresen”
    00:25:00 Tabulatuur-boeck van psalmen en fantasyen: Psalm XXIV. Verse 1 à 4, pedaliter
    00:27:24 Tabulatuur-boeck van psalmen en fantasyen: Psalm XXIV. Verse 2 à 4
    00:29:47 Tabulatuur-boeck van psalmen en fantasyen: Psalm XXIV. Verse 3 à 4, in de Bas
    00:32:49 Ballo del Granduca in G Major, SwWV 319
    00:37:52 LVI. Daphne [3 verses]
    00:43:47 Psalm 36 SwWV 311 “Des boosdoenders wille seer quaet”: Variatio
    00:46:41 Psalm 36 SwWV 311 “Des boosdoenders wille seer quaet”: Secunda Variatio
    00:49:51 Psalm 36 SwWV 311 “Des boosdoenders wille seer quaet”: Tertia Variatio
    00:53:31 IV. De frans galliard
    00:54:22 XXXVI. Serbande
    00:56:08 XIII. Almande Brun Smeedelyn
    00:57:33 Malle Sijmen in D Major, SwWV 323
    00:59:12 12 Pavans and Galliards, and 2 Canzonas: Padovana
    01:03:34 12 Pavans and Galliards, and 2 Canzonas: Gagliarda
    01:05:21 Ouverture Octava: Vivace
    01:09:56 Fantasia in G Minor à 3 SwWV 271

  • List of Renaissance composers

    1:18:39

    A full list of composers from the Renaissance period.

    Source:

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  • Happy Birthday in the Styles of 10 Classical Composers

    18:27

    During the past 2 years, I've covered these 10 classical composers in my How to Sound Like series. Each episode was uploaded on or around the composers' birthdays, and I dissected the characteristics of their music to construct versions of Happy Birthday in their styles. This is a fun, celebratory, and educational exercise, and in no way am I claiming that the authenticity of these versions is anything more than sincere attempts at trying to understand the intricacies of each composer. Please keep that in mind, and enjoy!

    ➡ All of the sheet music to these arrangements can be found here:
    (*I am planning to make a compilation of the 10 soon)

    ➡ Full episodes can be found in this playlist:

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    As always, thank you so much for watching, and thank you to all of you that leave comments.

  • Schindlers list - John Williams - NL orchestra

    4:49

    Simone Lamsma (violin) - Davida Scheffers (cor anglais)
    Watch til the end, emotion guaranteed...
    Davida Scheffers has lived her dream in winning a contest and the opportunity to play with the dutch Orchestra. Davida suffers from an extremely painful neuromuscular condition that derailed her career, and she thought she would never get to play in a professional orchestra again... The young blond lady is her daughter and was 18 years old that day.
    - All racist or offensive comments will be reported and deleted.
    - Video from RTL Netherlands show.
    - Special thanks to RTL NL for not blocking this video for copyrighting, masterpiece of human feelings representation through music. It had to be shared...

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  • Baroque Music - Classical Music from the Baroque Period

    2:33:55

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    BAROQUE MUSIC

    BACH - BRANDENBURG CONCERTO NO. 3 IN G MAJOR, BWV 1048
    I. — 00:00
    II. Adagio 05:55
    III. Allegro 06:21
    Orchestra da Camera Fiorentina conducted by Giuseppe Lanzetta

    VIVALDI - SINFONIA IN C MAJOR, RV 112
    I. Allegro 11:06
    II. Andante 13:04
    III. Presto 14:56
    Kaunas Chamber Orchestra conducted by Silvano Frontalini

    TELEMANN - VIOLA CONCERTO IN G MAJOR, TWV 51:G9
    I. Largo 15:39
    II. Allegro 19:12
    III. Andante 22:20
    IV. Presto 27:02
    Giovanni Antonioni, Warmia Symphonic Orchestra conducted by Silvano Frontalini

    CORELLI - CONCERTO GROSSO NO. 9 IN F MAJOR, OP. 6
    Preludio. Largo 30:07
    II. Corrente. Vivace 32:13
    III. Gavotta. Allegro 34:05
    IV. Minuetto. Vivace 35:10
    Kiev Camera Orchestra conducted by Liviu Buiuc

    VIVALDI - THE FOUR SEASONS, CONCERTO NO. 1 IN E MAJOR, RV 269 SPRING
    I. Allegro 38:25
    II. Largo 41:42
    III. Allegro pastorale 44:50
    Christiane Edinger, Orchestra da Camera Fiorentina conducted by Giuseppe Lanzetta

    BACH - BRANDENBURG CONCERTO NO. 5 IN D MAJOR, BWV 1050
    I. Allegro 49:07
    II. Affettuoso 59:48
    III. Allegro 1:05:26
    Orchestra da Camera Fiorentina conducted by Giuseppe Lanzetta

    VIVALDI - STRINGS CONCERTO IN B-FLAT MINOR, RV 164
    I. Allegro 1:10:55
    II. Adagio 1:12:55
    III. Allegro 1:13:53
    Kaunas Chamber Orchestra conducted by Marek Tracz

    CORELLI - CONCERTO GROSSO NO. 10 IN C MAJOR, OP. 6
    Preludio. Largo 1:15:14
    II. Adagio 1:17:54
    III. Allegro 1:21:44
    IV. Minuetto. Vivace 1:24:42
    Kiev Camera Orchestra conducted by Liviu Buiuc

    VIVALDI - THE FOUR SEASONS, CONCERTO NO. 4 IN F MINOR, RV 297 WINTER
    I. Allegro non molto 1:26:28
    II. Largo 1:29:56
    III. Allegro, Lento 1:32:08
    Christiane Edinger, Orchestra da Camera Fiorentina conducted by Giuseppe Lanzetta

    BACH - SUITE NO. 2 IN B MINOR, BWV 1067
    I. Ouverture. Lentamente 1:35:46
    II. Rondeau 1:43:30
    III. Sarabande 1:45:01
    IV. Bourrée 1:48:00
    V. Double 1:50:01
    VI. Minuetto 1:53:29
    VII. Badinerie 1:54:44
    Andreas Blau, Orchestra da Camera Fiorentina conducted by Giuseppe Lanzetta

    BACH - HARPSICHORD CONCERTO NO. 1 IN D MINOR, BWV 1052
    I. Allegro 1:56:05
    II. Adagio 2:03:52
    III. Allegro 2:09:53
    Saulis Dirvanauskas, Kaunas Chamber Orchestra conducted by Silvano Frontalini

    BACH - DAS WOHLTEMPERIERTE KLAVIER I: PRÉLUDE & FUGUE NO. 22, BWV 867 2:17:44
    Saulis Dirvanauskas (piano solo)

    BACH - ORCHESTRAL SUITE NO. 3 IN D MAJOR, BWV 1068: II. ARIA 2:20:31
    Giovanni Umberto Battel (piano solo)

    BACH - DAS WOHLTEMPERIERTE KLAVIER I: PRÉLUDE & FUGUE NO. 21, BWV 866 2:26:52
    Saulis Dirvanauskas (piano solo)

    Thank you so much for watching this video by Halidon Music channel, we hope you enjoyed it! Don't forget to share it and subscribe to our channel

    #baroque #baroquemusic #classicalmusic #classical

  • Corelli Complete Edition Vol.1

    2:46:58

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    Composer: Arcangelo Corelli
    Artists: Musica Amphion, Pieter-Jan Belder (harpsichord, organ & concert master)

    It may seem surprising: can 10 discs really contain all of Arcangelo Corelli’s output? They can, and do, but the surprise is merited, for the influence and reputation of these works far outstrips their quantity (and how often can one say that of a Barock composer!). On display here is the apogee of Barock form as displayed in the genres of Solo Sonatas, Trio Sonatas and Concerti Grossi, full of sparkling virtuosity and an intimate knowledge and love of the violin and its potential as a solo instrument.

    The influence was felt most immediately in Rome, where he was based for his adult life, but publication of these collections soon earned him a name across Europe, as much as his prowess as a solo violinist did; for this was the golden age of the composer as creator, when composition went hand in hand with performance. Of course there is plenty more music Corelli composed which hasn’t survived, or at least not on manuscripts with his name on them, for Corelli as an impresario frequently staged oratorios to which he would have contributed sinfonias and instrumental numbers.

    What survives is never less than highly polished; often bold, and continually inventive, as is more than evident in these performances from a welcome and uniform perspective by a leading Dutch period-instrument ensemble. And it’s unique; there is no other Corelli box on the market, nor has such a project ever been attempted before or since.

    Tracklist:
    Trio Sonatas OP.1:
    00:00:00 Sonata No.1 in F: I. Grave
    00:01:21 Sonata No.1 in F: II. Allegro
    00:02:46 Sonata No.1 in F: III. Adagio
    00:04:42 Sonata No.1 in F: IV. Allegro
    00:06:14 Sonata No.2 in E minor: I. Grave
    00:07:52 Sonata No.2 in E minor: II. Vivace
    00:08:55 Sonata No.2 in E minor: III. Adagio
    00:10:17 Sonata No.2 in E minor: IV. Allegro
    00:11:21 Sonata No.3 in A: I. Grave
    00:12:43 Sonata No.3 in A: II. Allegro
    00:14:33 Sonata No.3 in A: III. Adagio
    00:16:18 Sonata No.3 in A: IV. Allegro
    00:17:46 Sonata No.4 in A minor: I. Vivace
    00:19:04 Sonata No.4 in A minor: II. Adagio
    00:20:05 Sonata No.4 in A minor: III. Allegro
    00:21:23 Sonata No.4 in A minor: IV. Presto
    00:22:51 Sonata No.5 in B flat: I. Grave
    00:24:59 Sonata No.5 in B flat: II. Allegro
    00:26:19 Sonata No.5 in B flat: III. Adagio – Allegro
    00:27:56 Sonata No.5 in B flat: IV. Allegro
    00:29:06 Sonata No.6 in B minor: I. Grave
    00:30:01 Sonata No.6 in B minor: II. Largo
    00:32:31 Sonata No.6 in B minor: III. Adagio
    00:34:22 Sonata No.6 in B minor: IV. Allegro
    00:35:42 Sonata No.7 in C: I. Allegro
    00:37:19 Sonata No.7 in C: II. Grave
    00:38:28 Sonata No.7 in C: III. Allegro
    00:39:54 Sonata No.8 in C minor: I. Grave
    00:41:16 Sonata No.8 in C minor: II. Allegro
    00:42:53 Sonata No.8 in C minor: III. Largo
    00:44:53 Sonata No.8 in C minor: IV. Vivace
    00:45:57 Sonata No.9 in G: I. Allegro
    00:47:03 Sonata No.9 in G: II. Adagio – Allegro
    00:48:45 Sonata No.9 in G: III. Adagio
    00:50:37 Sonata No.9 in G: IV. Allegro – Adagio
    00:51:56 Sonata No.10 in G minor: I. Grave
    00:52:59 Sonata No.10 in G minor: II. Allegro
    00:53:37 Sonata No.10 in G minor: III. Allegro
    00:54:33 Sonata No.10 in G minor: IV. Adagio
    00:55:50 Sonata No.10 in G minor: V. Allegro
    00:57:05 Sonata No.11 in D minor: I. Grave
    00:58:34 Sonata No.11 in D minor: II. Allegro
    00:59:54 Sonata No.11 in D minor: III. Adagio
    01:01:32 Sonata No.11 in D minor: IV. Allegro
    01:02:15 Sonata No.12 in D: I. Grave
    01:04:17 Sonata No.12 in D: II. Largo e puntato
    01:05:58 Sonata No.12 in D: III. Grave
    01:06:55 Sonata No.12 in D: IV. Allegro

    01:08:43 Trio Sonatas OP.2 NOS 1 - 12
    02:21:52 Sonata A Quattro WoO4
    02:27:25 Trio Sonatas WoO 5-8

  • Erich, Saxer & Druckenmüller: Complete Organ Music

    1:18:56

    Tracklist below.

    Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play):
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    While J.S. Bach, along with Buxtehude, has long been considered the father of Baroque organ music in northern Germany, organ music connoisseurs today have started to look beyond the established canon of this time to the great composer’s contemporaries. Particularly interesting are three German composers who were also active around the same time as Bach: Erich, Saxer and Druckenmüller, whose complete works (as discovered in manuscript form) feature on this release.
    All three were unusual in that they came from provincial areas of Germany rather than being based in a thriving cultural centre like Hamburg or Lübeck. Druckenmüller – just two years younger than Bach – was highly unusual in publishing completely original Concertos for organ solo, in contrast to Bach’s settings of established chorale tunes that were the norm. The Concertos – all fast–slow–fast – are written in the style that was fast becoming the established one in Germany, the Italian Style. Slightly younger was Georg Saxer, whose style was starting to reflect the new galant Rococo. His Preludes, followed by a long Fugue, reflect new tensions with dominant seventh chords that seem to hang in the air, creating moments of suspense. Daniel Erich – more of Buxtehude’s time than Bach’s – wrote chorale preludes, of which only four survive. They reveal a composer full of expressivity and elegance in the way he embellishes the theme, whether in the soprano or the pedal. His original compositions show a remarkable originality as well as knowledge of the idiomatic writing of the time.
    Italian organist Manuel Tomadin’s passion for these undiscovered composers comes across clearly in this release. He has specially chosen a Baroque organ by Arp Schnitger, the most important organ builder of the period, who worked closely with both Saxer and Druckenmüller during his life, making this a wonderfully authentic recording.
    This new recording features the magnificent Schnitger organ of the St. Michael Church in Zwolle, the Netherlands. It was built in 1721 by Arp Schnitger and his sons, and after careful restoration over the last decades by Flentrop the organ is restored in its full glory, one of the finest examples of the Golden Age of organ building, the Baroque.
    The works on this recording are derived from the Husumer Orgelbuch (Husum organ book), a collection of organ works by North German major and minor masters. Presented are substantial Preludes by Georg Wilhelm Saxer, Choralvorspiele by Daniel Erich and two Concertos by Wolfgang Druckenmüller, written in the Italian style, as original compositions and not as transcriptions of Italian Concerti grossi, as was the custom of that period.
    Manuel Tomadin is one of the foremost Italian organists, a scholar, teacher and passionate musician. He won the Grand Prix of the Schnitger Organ Competition of Alkmaar in 2011, and recorded several CD’s for Brilliant Classics, among which the complete keyboard works by Alberti (BC95161). He wrote the excellent liner notes for the booklet, which also contains all information on the organ.

    00:00:00 Christum wir sollen loben schon
    00:02:48 Es ist das Heil uns kommen her
    00:05:10 Allein zu dir, Herr Jesu Christ
    00:10:00 Praeludium et Ciaccona in D Major: I. Praeludium
    00:12:30 Praeludium et Ciaccona in D Major: II. Ciaccona
    00:18:53 Concerto in A Major: I. Allegro
    00:22:03 Concerto in A Major: II. Siciliana
    00:23:23 Concerto in A Major: III. Vivace
    00:26:35 Concerto in F Major: I. Allegro
    00:28:36 Concerto in F Major: II. Adagio
    00:30:10 Concerto in F Major: III. Vivace
    00:32:41 Concerto in D Major: I. Allegro
    00:35:54 Concerto in D Major: II. Largo
    00:37:48 Concerto in D Major: III. Vivace
    00:39:14 Concerto in G Major: I. Allegro
    00:42:19 Concerto in G Major: II. Adagio
    00:44:00 Concerto in G Major: III. Allegro
    00:45:52 Praeludium in D Major
    00:54:43 Praeludium in B-Flat Major
    01:00:20 Praeludium in F Major
    01:06:51 Praeludium in D Major
    01:13:17 Praeludium in E Minor

    Artist
    Manuel Tomadin (organ)

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  • Babys Music Box Lullabies - Collection of soothing nursery lullaby music for infants

    24:03



    Buying baby supplies from Amazon and want to help support this channel? Clicking the following link first will help fund new content!



    [Update] There is now a new version of Baby's Music Box Lullabies on Youtube with a completely new list of songs! Check it out here:



    Baby's Music Box Lullabies is a collection of soothing nursery lullaby songs played with a traditional music box. It is accompanied by an animated mobile of stars traveling slowly across the night sky. Create a peaceful and calming atmosphere to help your child or infant to drift to sleep. This Youtube exclusive video features a playlist of fifteen nostalgic lullaby classics at a running total of twenty-four minutes. It includes renditions of works by such timeless composers as Johannes Brahms, Johann Pachelbel, Ludwig van Beethoven, J.S. Bach, and others. Below is a complete listing of the lullabies featured in this video.

    1. Brahm's Lullaby (00:06)
    2. Pachelbel's Canon (02:25)
    3. Toyshop (04:39)
    4. Hush Little Baby (06:32)
    5. Mary Had a Little Lamb (07:50)
    6. Chopsticks (08:52)
    7. At Sea (10:06)
    8. Frere Jacques (12:09)
    9. Fur Elise (13:05)
    10. Joy (14:09)
    11. My Bonnie Lies Over the Ocean (15:53)
    12. Silent Night (16:54)
    13. The Monkey (18:27)
    14. Twinkle Twinkle Little Star (20:14)
    15. Bach's Prelude (21:28)

    You can download all of the Baby's Music Lullaby collections through Bandcamp at the following link:



    The tracks in this video are available for both commercial and non-commercial licensing. Would you like to use these lullabies in your film or other project? Contact me at the following email to negotiate licensing terms that match your needs.

    jabackf@yahoo.com

    You can find more information about me and my music on my personal web page:



    I also sell stock audio through a wonderful company called AudioJungle:



    You can also find more of my work on my Youtube channel:



    If you like my music, please don't forget to hit the Like button and leave me a comment! You can also subscribe by clicking this link:

  • Lex van Delden, Musica sinfonica Op 93, for orchestra

    19:20

    Lex van Delden, Musica sinfonica Op.93, for orchestra (1967)

    Royal Concertgebouw Orchestra
    Bernard Haitink, conductor

    Lex van Delden, born Alexander Zwaap in Amsterdam (10 September 1919 – 1 July 1988) (the Netherlands) as the only child of Wolf Zwaap, a school-teacher, and his wife Sara Olivier, Lex van Delden took piano-lessons from an early age—first from Martha Zwaga and later from the celebrated pianist, Cor de Groot. He started composing at the age of eleven, when he set poems by Guido Gezelle to music since a long illness prevented him from playing the piano. He remained self-taught as a composer. Despite his artistic promise and interests (by the age of fourteen, for instance, he was accompanying the famous German Expressionist dancer/choreographer, Gertrud Leistikow, and he also moved in the circle of one of Holland's foremost composers of the time, Sem Dresden) he enrolled at the University of Amsterdam in 1938 to study medicine.

    Still a student, he made his début as a composer in 1940 with the song cycle L'amour (1939; for soprano, flute, clarinet and string trio), written at the request of the young composer/conductor Nico Richter, who was in charge of the students' orchestra.
    World War II

    However, in 1940 the Germans invaded the Netherlands and in 1942, being a Jew, he was forced to interrupt his studies irrevocably, as it turned out, because his hopes of becoming a neuro-surgeon were dashed during World War II due to an exploding carbide lamp, which virtually blinded him in his left eye while in hiding.

    Presently he joined the underground students' resistance movement and after the war was commended for his bravery by both the President of the United States of America and the Supreme Command of the Allied Forces. In 1953 the name he had assumed since the Liberation in 1945 (Lex van Delden—a derivation from the name he used in the resistance) was officially approved.

    By the time the war was over, Van Delden had lost nearly his entire family in the Holocaust. He almost immediately found his way into Dutch cultural life, partially through contacts he had made as a member of the resistance movement

    Throughout the fifties and sixties Lex van Delden became one of the most widely heard Dutch composers of his generation, and a large number of his pieces were commissioned (by the Dutch government, the City of Amsterdam, Dutch radio and others) and enjoyed acclaimed performances by the Amsterdam Concertgebouw Orchestra under such renowned conductors as George Szell, Charles Münch, Eduard van Beinum, Eugen Jochum, Willem van Otterloo and Bernard Haitink, and by numerous other prominent ensembles and soloists. He was made a Knight of the royal Order of Oranje-Nassau (1972), and received the Freedom of the City of Amsterdam (1982), where he died on 1 July 1988.

    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.

  • Iranian Jazz Night / Conservatorio di Milano - Documentary

    24:14

    On April 6th, 2013, Dogme ART organized Iranian Jazz Night in Milan Conservatory under the patronage of Municipality of Milan.

    Paris based Jazz Pianist Arshid Azarine, well-known percussionist Habib Meftah Boushehri, vocalist and songwriter Golnar Shahyar (based in Vienna) and famous Jazz Guitarist and Composer Mahan Mirarab (based in Vienna) were invited to perform their art in Milan that night. This concert was organized in Milan Conservatory's Sala Puccini with capacity of 400 guests. In this event, Arshid and Habib shared the same stage for a whole concert with Vienna based Duo, Mahan and Golnar for the first time.

    ------------------------------------------------------------------------------------------------------------------------------------

    A DOGME ART PROJECT.

    DESIGNED BY:
    Shervin Fekri

    PRODUCTION MANAGEMENT:
    Hamed Lavari

    PRODUCTION TEAM:
    Taher Nikkhah Abyaneh, Behzad Bani, Shadi Malek, Soheil Raheli

    PRODUCED BY Dogme Art (LOGO):
    Taher Nikkhah Abyaneh, Behzad Bani, Shervin Fekri, Ahmad Mobasher

    STAFF MANAGEMENT:
    Mahroo Amiri

    HOSPITALITY:
    Stefano Luca Busso, Alessandro Garavaglia, Heloei Jacob, Latifeh Latifian, Negar Mostafavi, Caterina Scalzo, Sam Young

    MEDIA TEAM MANAGEMENT:
    Sina Pouyan

    MEDIA TEAM:
    Seyhoon Ayoubi, Hooman Meyabadi, Delaram Mirnaghibi, Sina Pouyan

    And thanks to all those who helped us with this project!

  • Julius Röntgen, Serenade, Op 14

    28:33

    Julius Röntgen, Serenade, Op. 14

    1. Allegro tranquillo
    2. Scherzo
    3. Andante con espressione
    4. Allegro molto vivace

    Viotta Ensemble

    Julius Engelbert Röntgen (9 May 1855 – 13 September 1932) was a German-Dutch composer of classical music.
    Julius Röntgen was born in Leipzig, Germany, to a family of musicians. His father, the Dutch born Engelbert Röntgen, was first violinist in the Gewandhaus orchestra in Leipzig; his mother, Pauline Klengel, was a pianist, an aunt of the renowned cellist Julius Klengel, born in 1859.
    His first piano teacher was Carl Reinecke, the director of the Gewandhaus orchestra, while his early compositions were influenced by Reinecke, but also by Robert Schumann, Franz Liszt and Johannes Brahms.
    In 1870, at the age of 14, Julius Röntgen visited Franz Liszt in Weimar; after playing piano for him he was invited to a soiree at Liszt's house.

    In Leipzig, he and his parents were part of the musical circle around Heinrich von Herzogenberg, and it was at their house that he first met Brahms. Later Röntgen moved to Munich, where he studied piano under Franz Lachner, a friend of Franz Schubert. At the age of 18 he became a professional pianist. During a concert tour through southern Germany he became acquainted with the singer Julius Stockhausen; at this time he also met a Swedish music student Amanda Maier, whom he would marry in 1880.
    In 1877 Röntgen had to make a decision whether to go to Vienna or Amsterdam. He chose Amsterdam, and became a piano teacher in the music school there.
    Between 1878 and 1885 Brahms was a frequent visitor in Amsterdam. In 1887 Röntgen performed Brahms's second piano concerto, conducted by the composer himself.

    Röntgen also played an important part in establishing institutions for classical music in Amsterdam. In 1883, in association with composers Frans Coenen and Daniel de Lange, Röntgen founded the Amsterdam Conservatory. In 1884 Röntgen was heavily involved in the foundation of the Concertgebouw. He applied for the position of the director; however, to his great disappointment, the choice fell instead on the German Hans von Bülow, as the committee seemed to doubt Röntgen's abilities as a conductor. Nevertheless, Bülow was not able to accept the appointment, and the position went in the end to the violinist Willem Kes.

    For some years, Röntgen and his sons performed together as a piano trio. After the death of his wife Amanda in 1894, Röntgen married the gifted piano teacher Abrahamina des Amorie van der Hoeven. The children of the second marriage also became professional musicians. Röntgen's son Joachim, a violinist, founded the Röntgen String Quartet.

    At the end of the First World War, in 1919, Röntgen became a naturalized Dutch citizen.
    In the years from 1920 on Röntgen experimented with atonal music; he wrote e.g. a bi-tonal symphony in 1930.

    In 1924 Röntgen retired from public life. He moved to Bilthoven, a small village near Utrecht. His son Frants, who followed a career in architecture, designed for him the country house Gaudeamus. The unusual round music room in that house was constructed in such a way that its floor did not touch the ground, but hung from the ceiling. During the last eight years of his life Röntgen wrote about 100 compositions, mostly chamber music and songs. Gaudeamus became a meeting place for many important composers and musicians; among the visitors in that house were Pablo Casals and Percy Grainger. At that time, Röntgen studied musical analysis and was interested in the work of Hindemith, Stravinsky, Schönberg, and Willem Pijper.

    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.

  • Mendelssohn: Songs Without Words - Lieder Ohne Worte

    2:1:09

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    Young Mendelssohn composed extensively for the piano. From early concertos and sonatas he quickly established his ‘mature’ style in works such as the Rondo capriccioso, and the Andante cantabile e Presto agitato. The masterpieces that followed include the famous Songs without Words/Lieder ohne Worte. On this complete recording, these piano 'songs' are played by Dutch pianist Frank van der Laar.

    00:00:00 Andante con moto, in E Major, Op. 19 No. 1
    00:03:50 Andante espressivo, in A Minor, Op. 19 No. 2
    00:06:14 Molto allegro, in A Major, Op. 19 No. 3, “Jägerlied”
    00:08:49 Moderato, in A Major, Op. 19 No. 4
    00:11:16 Agitato, in F-Sharp Minor, Op. 19 No. 5
    00:14:47 Andante sostenuto, in G Minor, Op. 19 No. 6, “Venetian Gondola Song”
    00:17:22 Andante espressivo, in E-Flat Major, Op. 30 No. 1
    00:21:44 Allegro di molto, in B-Flat Minor, Op. 30 No. 2
    00:23:49 Andante sostenuto, in E Major, Op. 30 No. 3
    00:26:28 Agitato e con fuoco, in B Minor, Op. 30 No. 4
    00:29:21 Andante grazioso, in D Major, Op. 30 No. 5
    00:31:14 Allegretto, in F-Sharp Minor, Op. 30 No. 6, “Venetian Gondola Song”
    00:34:01 Con moto, in E-Flat Major, Op. 38 No. 1
    00:36:17 Allegro non troppo, in C Minor, Op. 38 No. 2
    00:38:34 Presto, in E Major, Op. 38 No. 3
    00:41:00 Andante, in A Major, Op. 38 No. 4
    00:43:03 Agitato, in A Minor, Op. 38 No. 5
    00:45:42 Andante con moto, in A-Flat Major, Op. 38 No. 6, “Duetto”
    00:48:33 Andante con moto, in A-Flat Major, Op. 53 No. 1
    00:51:24 Allegro non troppo, in E-Flat Major, Op. 53 No. 2
    00:54:14 Presto agitato, in G Minor, Op. 53 No. 3
    00:57:08 Adagio, in F Major, Op. 53 No. 4
    00:59:53 Allegro, in A Minor, Op. 53 No. 5, “Volkslied”
    01:02:53 Molto allegro vivace, in A Major, Op. 53 No. 6
    01:06:02 Andante espressivo, in G Major, Op. 62 No. 1
    01:08:14 Allegro con fuoco, in B-Flat Major, Op. 62 No. 2
    01:10:18 Andante maestoso, in E Minor, Op. 62 No. 3, “Trauermarsch”
    01:13:53 Allegro con anima, in G Major, Op. 62 No. 4
    01:15:09 Andante, in A Minor, Op. 62 No. 5, “Venetian Gondola Song”
    01:17:58 Andante grazioso, in A Major, Op. 62 No. 6, “Frühlingslied”
    01:21:08 Andante, in E-Flat Major, Op. 67 No. 1
    01:23:47 Allegro leggiero, in F-Sharp Minor, Op. 67 No. 2
    01:26:24 Andante tranquillo, in B-Flat Major, Op. 67 No. 3
    01:28:50 Presto, in C Major, Op. 67 No. 4, “Spinnerlied: The Bee’s Wedding”
    01:30:50 Moderato, in B Minor, Op. 67 No. 5
    01:33:12 Allegretto non troppo, in E Major, Op. 67 No. 6
    01:35:36 Andante espressivo, in F Major, Op. 85 No. 1
    01:37:50 Allegro agitato, in A Minor, Op. 85 No. 2
    01:38:44 Presto, in E-Flat Major, Op. 85 No. 3
    01:41:19 Andante sostenuto, in D Major, Op. 85 No. 4
    01:44:18 Allegretto, in A Major, Op. 85 No. 5
    01:46:04 Allegretto con moto, in B-Flat Major, Op. 85 No. 6
    01:48:35 Andante un poco agitato, in E Minor, Op. 102 No. 1
    01:50:51 Adagio, in D Major, Op. 102 No. 2
    01:53:28 Presto, in C Major, Op. 102 No. 3
    01:55:01 Un poco agitato, in G Minor, Op. 102 No. 4
    01:57:12 Allegro vivace, in A Major, Op. 102 No. 5, “Kinderstück”
    01:58:31 Andante, in C Major, Op. 102 No. 6

    Thanks for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel:

    And visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak, Schubert and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more!

  • How the way you TALK affects the MUSIC you write | Music & Language

    9:24

    Have you ever wondered whether the way you speak, the language and the particular accent you use, affect the kind of music you write? In this video I look at the fascinating research into this area that has indeed found people with different languages and even accents do end up writing different kinds of music.

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    The Scotch Snap

  • Géza Frid, Concerto for Two Violins and Orchestra, Op 40

    20:27

    Géza Frid, Concerto for Two Violins and Orchestra, Op. 40

    1. Introduzione (decisamente) - Andantino pastorale
    2. Introduzione (liberamente - quasi marcia) - Allegro molto

    Theo Olof and Herman Krebbers, violins
    Radio Philharmonic Orchestra (Netherlands Radio Symphony Orchestra)
    Willem van Otterlo, conductor

    Géza Frid (25 January 1904 – 13 September 1989) was a Hungarian–Dutch composer and pianist.
    Géza Frid was born in Máramarossziget in the Máramaros County of Austria-Hungary (present-day Romania) and studied piano and composition in Budapest with a.o. Zoltán Kodály and Béla Bartók. He settled in Amsterdam in 1929 and became a Dutch citizen in 1948. He died in Beverwijk and was buried at Zorgvlied cemetery.

    Frid gave many piano recitals all over the world: Italy (1926, 1955, 1965), Indonesia (1948–1949, 1951, 1956), Siam and Egypt (1951), Israel (1962, 1965, 1967), the Soviet Union, (1963), South- and North-America (1965, 1967), Turkey (1965), The Netherlands (1967), Surinam and the Netherlands Antilles (1970), the United States (1970, 1974), Hungary (1971, 1974). During the Second World War Frid was active in the resistance. He taught chamber music at the Conservatory of Music in Utrecht.

    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.

  • Yann Tiersen: Pour Amélie Piano Music played by Jeroen van Veen

    1:51:18

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    The maestro of Minimalist piano music has done it again, with an album of gentle melodies and soothing sounds from Yann Tiersen, a composer best known outside his native France for the soundtrack to the movie Amélie. Dutch pianist, pioneer and champion of Minimalism Jeroen van Veen recorded Tiersen’s most popular melodies, playing the piano in his inimitable way: focussed, serene and hypnotising. Listen to the full album of Yann Tiersen: Pour Amélie – Piano Music now, perfectly suitable to relax or study.

    For more information, go to

    Tracklist:
    00:00:00 Comptine d`un autre été: l`après midi
    00:02:42 Comptine d`été No.2
    00:05:09 Comptine d`été No.3
    00:07:40 Le vieux en veut encore
    00:09:20 Toujours la
    00:10:45 Comptine d`été No.1
    00:13:07 La piece vide
    00:15:02 La dispute
    00:17:19 Sur le fil
    00:22:34 Les jours heureux
    00:24:54 chute
    00:30:57 L`absente
    00:34:17 Le retour
    00:36:09 La valse d`Amélie
    00:38:52 Le Moulin
    00:42:32 Le matin
    00:44:39 La plage
    00:46:52 Les retrouvailles
    00:49:13 La jetee
    00:50:16 Tabarly
    00:53:02 8 mmm
    00:55:27 Point Zero
    00:58:34 Summer 78
    01:02:34 Coma
    01:04:33 Childhood (1)
    01:06:27 From Prison to Hospital
    01:07:51 Mother
    01:09:34 Watching Lara
    01:11:26 Selling Dishes
    01:12:17 First Rendez-Vous
    01:13:50 The Decant Session
    01:14:43 Lara's Castle
    01:16:45 The Deutsch Mark is Coming
    01:18:01 I saw Daddy today
    01:20:21 Birthday Preparations
    01:22:07 Good Bye Lenin
    01:27:37 Childhood (2)
    01:30:21 Letters
    01:31:53 Mother's Journey
    01:33:27 Preparations for the Last TV Fake
    01:36:39 Mother Will Die
    01:40:09 Father is Late
    01:41:51 Father and Mother
    01:45:20 Finding the Money
    01:46:52 Summer 78

    Artist:
    Jeroen van Veen (piano)

    Thanks for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel:

    And visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak, Schubert and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more!

  • The Great Composers Pt. 2 : The Dutch Composers 2

    13:45

    Dedicated to my subscribers.
    There will probably a lack of uploads due to another three-day-exam that will be held on July 2nd to July 4th.

  • The Great Composers Pt. 3 : The Dutch Composers 3

    19:07

    Dedicated to my subscribers.

    Please give me the composers and the pieces I missed from parts 1, 2, and 3 plus your favorites for the recap!

  • Henk Badings, Symphony No 2

    18:25

    Henk Badings, Symphony No 2

    1. Allegro
    2. Adagio
    3. Allegro Vivace

    Janacek Philharmonic Orchestra
    David Porcelijn, conductor

    Henk Badings (17 January 1907 – 26 June 1987) was a Dutch composer.

    Born in Bandung, Java, Dutch East Indies, as the son of Herman Louis Johan Badings, an officer in the Dutch East Indies army, Hendrik Herman Badings became an orphan at an early age. Having returned to the Netherlands, his family tried to dissuade him from studying music, and he enrolled at the Delft Polytechnical Institute (later the Technical University). He worked as a mining engineer and palaeontologist at Delft until 1937, after which he dedicated his life entirely to music. Though largely self-taught, he did receive some advice from Willem Pijper, the doyen of Dutch composers at the time, but their musical views differed widely and after Pijper had attempted to discourage Badings from continuing as a composer, Badings broke off contact.

    In 1930 Badings had his initial big musical success when his first cello concerto (he eventually wrote a second) was performed at the Concertgebouw in Amsterdam. Champions of his work included such eminent conductors as Eduard van Beinum and Willem Mengelberg. He held numerous teaching positions; e.g., at the Musikhochschule Stuttgart and the University of Utrecht. Accused after the Second World War of collaboration with the Nazi occupation forces, he was briefly banned from professional musical activity, but by 1947 he had been reinstated.

    Badings used unusual musical scales and harmonies (e.g., the octatonic scale); he also used the harmonic series scale from the eighth to the fifteenth overtone.[An exceptionally prolific artist, he had produced over a thousand pieces at the time of his death, which took place at Maarheeze in 1987.

    Compositions by Badings include fifteen numbered symphonies, at least four string quartets, several concertos, other orchestral works including a Symphonietta : speelmuziek voor klein symphonie-orkest, other chamber music works, piano works, and incidental music.

    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.

  • x
  • Peter Schat - Polonaise, Op. 29

    10:53

    Peter Schat (1935-2003)

    Polonaise : for piano, Op. 29 (1981)

    Makon Austbo, piano

    dedicated to the father of the composer


    Program note (Dutch):
    Het werk werd geschreven tussen augustus 1980 en mei 1981, als een neerslag van de gebeurtenissen op de Lenin-werf in Gdansk, Polen: Allegro furioso e appassionato, en is een reflexie op de virtuoze pianostijl van Chopin. Ook de titel kan daarmee in verband gebracht worden.
    De tonaliteit is die van het vierde en twaalfde uur van de toonklok. De tonaliteit van een kwint en 2 grote tertsen, die met behulp van stuurreeksen voortdurend het hele chromatische gebied doorlopen.
    Het werk is opgedragen aan mijn vader, die mij de liefde voor het pianospel bijbracht, zijn leven en zijn gezin in het verzet tegen de nazi's riskeerde en 's avonds Chopin speelde. - PETER SCHAT

    Peter Schat was a Dutch composer and writer on music. He studied composition with van Baaren at the conservatories of Utrecht and The Hague (1952-1958), with Seiber in London (1959) and with Boulez in Basle (1960-1961). Between 1974 and 1983 he taught composition at the Royal Conservatory in The Hague. In 1967 he co-founded STEIM (Studio voor Elektro-Instrumentale Muziek). His awards include the Matthijs Vermeulenprize (1973, for To You) and the Joost van den Vondelprize of the Westfälische Wilhelmsuniversität of Münster (1990).
    Schat's training was as a serial composer. His first compositions, such as the Introductie en adagio in oude stijl (1954) and the Septet (1957), combine traditional forms, including sonata form, with dodecaphony. But his lessons with Boulez led him to a more radical, strict form of serial thought, and even before that he was regarded in the Netherlands as one of the leading members of the avant garde of his generation. In the fourth part of the Octet (1958), dedicated to van Baaren, it is the players who determine the order of its 12 segments, while in the final part there is occasion for individual improvisation. In Improvisations and Symphonies (1960) free performer invention becomes the central component. The work also reveals Schat's inclination towards the theatrical, with spatial movement prescribed in the form of performer-directed 'promenades'. Of his Boulez-influenced pieces, Entelechie I displays structures with fixed properties and less fixed 'commentaries' upon them in the form of retrospective and anticipatory 'shadows'; the work also involves complex textures in its accumulated heterophonies. However, as Schat subsequently became involved with socio-political issues, he came to associate the static qualities of this piece and its successor, Entelechie II, with what he saw as the immobility of western social institutions serving a cold war mentality; Boulez himself was described as a 'premature specialization', a biological concept relating to a species without a chance to develop.
    In 1969, Schat was one of the leading figures in another demonstration event -- the notorious 'notenkrakersactie' in which a group of activists disturbed a concert by the Concertgebouw Orchestra, demanding an open discussion of music policy. In the same year, alongside the composers Reinbert de Leeuw, Louis Andriessen, Jan van Vlijmen and Misha Mengelberg, and the writers Harry Mulisch and Hugo Claus, Schat was also involved in Reconstructie, a 'morality' theatre work, again a homage to 'Che' Guevara, about the conflict between imperialism and liberation. The symbolic central character is a US imperialist Don Giovanni, who seduces and rapes the ladies Bolivia and Cuba; his opponent is the Commendatore 'Che'.

  • Traditional Dutch Music - Dutch Windmills

    3:10

    Traditional Dutch music about the beautiful country of The Netherlands. This music is called Dutch Windmills. We hope you enjoy listening to it!

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    #dutchmusic #netherlands #accordionmusic #accordions #holland


    ~ Music by Brandon & Derek Fiechter ~

  • Wolfgang Wijdeveld - Violin Sonata

    14:41

    Wolfgang Wijdeveld (1910-1985)

    Sonate : voor viool en piano (1948)

    1. Allegro precipitoso - 00:00
    2. Larghetto - 07:42
    3. Presto scherzando - 11:52

    Junko Naito, violin
    Ton Hartsuiker, piano

    dedicated to Thomas Magyar


    Wolfgang Wijdeveld was a Dutch composer. His father was the famous architect H.Th. Wijdeveld, his mother was the cellist Ellen Kohn and his grandmother the Polish pianist Ruscha Schönfeld, a pupil of Brahms. Wolfgang studied piano with Cornelius Berkhout and harmony with Willem van Warmelo. At the Amsterdam Conservatory of Music he studied piano with Willem Andriessen, theory with Sem Dresden and Anton Tierie and violin with Cor Kint. He also had singing lessons from Saar van Alphen and he studied composition for two years with Willem Pijper. At first Wijdeveld worked as a pianist and composer with the Yvonne Georgi ballet, Estelle Reed, and the Ballet of the Low Countries. He toured the Unites States in 1939 with the Yvonne Georgi Ballet. From 1940 till 1946 he was managing director of the Music School in Zwolle. From 1946 to 1976 he taught piano and (from 1962) methodology at the Utrecht Conservatory of Music and from 1966 to 1970 also at the Conservatory of Arnhem. He was a music critic at the daily Het Vrije Volk from 1956 till 1968. In 1962 and 1963 he gave concerts and seminars (together with his father) at 15 universities throughout North America. For many years he was chairman of the Amsterdam branch of the Royal Dutch Composers' Association. Wolfgang Wijdeveld wrote ballet music for one or two pianos with orchestra. Important works are: 'Symphonische Ouverture' for orchestra, songs, sonatas for piano, for violin and compositions for accordion and guitar.

  • Pieter Hellendaal - Concerto Grosso Op. 3, No. 3

    10:50

    Pieter Hellendaal (1 April 1721 – 19 April 1799) was an Anglo-Dutch composer, organist and violinist. He was sometimes distinguished with the suffix The Elder, after the maturity of his musician son, Pieter Hellendaal the Younger.

    At age 30, he migrated to England where he lived for the last 48 of his 78 years. He was one of the most famous composers of Dutch origin in the 18th century.

    Grand Concerto Op. 3, No. 3

    Combattimento Amsterdam conducted by Jan Willem de Vriend

  • Spanish Classical Music | 17th Century Music From The Spanish Territories

    55:53

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    Composers: Antonio de Cabezón, Andrea Falconieri, Bartolomé de Selma y Salaverde, Bernardo Storace, Francesco Corbetta, Gaspar Sanz, Girolamo Montesardo, Santiago de Murcia
    Artists: Cordevento, Erik Bosgraaf (recorders), Izhar Elias (baroque guitars), Alessandro Pianu (harpsichord & organ)

    This collection draws directly from the works of Italian and Spanish guitarists Girolamo Montesardo, Carlo Calvi, Gaspar Sanz, Santiago de Murcia and Francesco Corbetta, keyboard players Antonio de Cabezón, Bernardo Storace, Jan Pieterszoon Sweelinck and Pieter de Vois, and authors of solo and chamber music for a variety of other instruments, Andrea Falconieri, Bartolomé de Selma y Salaverde and Jacob van Eyck.

    Emblem and ambassador of Spanish culture, it is the guitar that threads the story together, intrinsically intertwined with the Spanish fondness for variation sets on harmonic grounds. Spain’s imperial history explains the wide geographical variety of composers, though even the Dutch Sweelinck seeks to bring local colour to his sober Low Countries aesthetic in his Pavana Hispanica. Elsewhere there are variations on the perennially popular ‘La Follia’, jolly Correntes and tarantellas, and more sinuous diferencias and intabulations of love-songs. They are all performed by a trio of young and talented musicians who bring great rhythmic vitality and a freshly imaginative approach to this inventive act of reconstruction.

    00:00:00 Corriente dicha la Cuella
    01:03:16 La Suave Melodia, y su corrente
    00:04:00 Il Rosso, brando
    00:04:50 Sinfonia a due
    00:07:24 Tarantelas
    00:10:53 Canzon terza
    00:16:22 Pavane de Spanje
    00:17:57 Pavana hispanica
    00:20:30 Corrente dicha l’Avellina
    00:21:27 Il Spiritillo, brando
    00:22:26 Alemana dicha Villega
    00:24:35 Follie in G.sol.re.ut
    00:27:26 La Monarcha
    00:31:23 Follia
    00:35:42 Corrente
    00:36:44 Repicavan
    00:38:49 Canzon seconda
    00:41:50 Diferencias sobre la pavana italiana
    00:45:06 La Esfachata de Nápoles
    00:45:53 La Cavalleria de Nápoles, con dos clarines
    00:48:38 La Benedetta
    00:50:46 La Prudenza, corrente
    00:51:58 Corriente dicha la Mota, echa para D. Pedro dela Mota
    00:53:00 Brando dicho el Melo
    00:54:18 Pavaniglia

  • Pieter Hellendaal - Concerto Grosso Op. 3, No. 5

    17:16

    Pieter Hellendaal (1 April 1721 – 19 April 1799) was an Anglo-Dutch composer, organist and violinist. He was sometimes distinguished with the suffix The Elder, after the maturity of his musician son, Pieter Hellendaal the Younger.

    At age 30, he migrated to England where he lived for the last 48 of his 78 years. He was one of the most famous composers of Dutch origin in the 18th century.

    Grand Concerto Op. 3, No. 5

    Combattimento Amsterdam conducted by Jan Willem de Vriend

  • Wolfgang Wijdeveld - Zondagsminiatuur

    4:43

    Wolfgang Wijdeveld (1910-1985)

    Zondagsminiatuur : voor harmonium, trompet en bekkens

    Wolfgang Wijdeveld, harmonium
    Nelly Boeree, trumpet
    Cees See, cymbals


    Wolfgang Wijdeveld was a Dutch composer. His father was the famous architect H.Th. Wijdeveld, his mother was the cellist Ellen Kohn and his grandmother the Polish pianist Ruscha Schönfeld, a pupil of Brahms. Wolfgang studied piano with Cornelius Berkhout and harmony with Willem van Warmelo. At the Amsterdam Conservatory of Music he studied piano with Willem Andriessen, theory with Sem Dresden and Anton Tierie and violin with Cor Kint. He also had singing lessons from Saar van Alphen and he studied composition for two years with Willem Pijper. At first Wijdeveld worked as a pianist and composer with the Yvonne Georgi ballet, Estelle Reed, and the Ballet of the Low Countries. He toured the Unites States in 1939 with the Yvonne Georgi Ballet. From 1940 till 1946 he was managing director of the Music School in Zwolle. From 1946 to 1976 he taught piano and (from 1962) methodology at the Utrecht Conservatory of Music and from 1966 to 1970 also at the Conservatory of Arnhem. He was a music critic at the daily Het Vrije Volk from 1956 till 1968. In 1962 and 1963 he gave concerts and seminars (together with his father) at 15 universities throughout North America. For many years he was chairman of the Amsterdam branch of the Royal Dutch Composers' Association. Wolfgang Wijdeveld wrote ballet music for one or two pianos with orchestra. Important works are: 'Symphonische Ouverture' for orchestra, songs, sonatas for piano, for violin and compositions for accordion and guitar.

  • Charles Neustedt: Primavera , Op.122

    4:07

    Phillip Sear plays an idyll from 1877 by the French composer and piano teacher Charles Neustedt'
    -----------------------------------------------------------------------------------------------
    The French composer Charles Neustedt (1838-1908) seems to have written a few popular gavottes, tyroliennes and operatic fantasies, but I cannot find much information on his life. Probably born in Saumur, he was a sometime 'professor' at the Couvent des Oiseaux and College Rollin. The first of these institutions was a famous Parisian gaol of the French revolution, which was turned into a convent in 1824. The second was a private college in the Rue Lhomond. I guess he may have been what we would now call a peripatetic music teacher. He was obviously well regarded, as I have seen several works by other composers dedicated to him. In 1879, he took over the Flaxland piano manufacturing business for a few years. Neustedt wrote several idylls, which come across to me as a mixture of Mendelssohn and bel canto. This piece was dedicated to the wife of Willem ten Have (1831 — 1924), the famous Dutch violinist and composer. As both this and the first Idylle were seemingly dedicated to Dutch people, one wonders if Neustedt had Dutch links, or indeed was of Dutch birth.

    Thumnail credit (my colourization): Jerome Robbins Dance Division, The New York Public Library. (1819). Ballo I Titani, atto I. Deliziosa primavera. Ma in primavera eterna, ch'ora s'asconde e verna, rise di luce, e di sereno il cielo; Tasso. Stucchi inc. Carol Lose acq. [after a set design by Sanquirico] Retrieved from
    ----------------------------------------------------------------------------------------------
    Played by Phillip Sear
    (Email: piano4@psear.33mail.com
    WhatsApp: )

  • Canzone - Jurriaan Andriessen the Dutch Mandolin Chamber Orchestra Het CONSORT

    8:52

    Jurriaan Andriessen was born in Haarlem in 1925 into a family of artists. His grandfather Willem and his father Hendrik both were well known composers while his uncle Mari was a famous Dutch sculptor. His younger brother Louis Andriessen is one of Europe's most eminent and influential composers. Jurriaan Andriessen received his first music lessons from Job Wilderbeek. Later, at the Utrecht Conservatory, he studied composition with his father Hendrik Andriessen and piano with Gerard Hengeveld and André Jurres. He also received lessons in orchestral conducting by the legendary Dutch conductor Willem van Otterloo. To broaden his musical horizon he studied with Olivier Messian in Paris and specialised himself in writing film music. In 1949 he left to study and work in the United States with Aaron Copland and Serge Koussevitsky. Most of the overtures, symphonies, concertos that he composed there, were premiered in the USA and in Europe. When he returned to Europe in 1951, he lived for a period in Italy and Germany, mainly to study music and to compose. Back in the Netherlands in 1953 Andriessen worked as an all round composer writing for almost every music genre and for diverse instrument combinations like for instance harmony orchestra, accordion ensemble and dixieland band. In this period he also composed Venezia, a one movement work originally intended for mandolin orchestra. Besides his activities as a composer Andriessen revealed himself as conductor of his own compositions and directed ballet and concert performances for TV and Radio broadcastings. An excellent example of Andriessen's interest in combining different Art disciplines is his symphony 'Time Spirit'; a music theatre work for clarinet, orchestra, pop musicians, ballet and slide projection made in 1970 with and based on drawings and lithographs by the Dutch artist M.C. Escher (broadcasted by the NCRV Dutch television). Furthermore Andriessen was especially interested in the integration of the computer in the process of composing and the use of the computer as texts processor, especially for texts in connection with music.

    Jurriaan Andriessen was honoured with several awards during his life. Like for instance for his composition 'Het Wonderlijk Uur' (composed for the special occasion of the reign jubilee of Queen Wilhelmina) he received in 1948 the first Johan Wagenaar award. In 1960 he was knighted in the Order of the White Elephant (Thailand). And in 1972 he was, because of his great merits in the field of the theatre music, declared as Knight in the Order of Oranje Nassau. Jurriaan Andriessen died in 1996 in The Hague (Netherlands).

    The Canzone performed on this video by the Dutch Mandolin Chamber Orchestra Het CONSORT was a composition commissioned by the Dutch ´Pijpersgilde´ in 1979. It is one of two compositions with this title that he wrote for bamboo pipe (or recorder) trio and guitar.

    The arrangement for mandolin orchestra of the first Canzone by Alex Timmerman was made because the music lends itself perfectly to be played by plucked and plectrum played instruments and more so since both Canzones are advertised on the cover of the music that other combinations of instruments also could perform it and that it was suitable for large ensembles. It is, in all its simplicity and straight forwardness, a wonderful piece of music in tremolo style with a nice contrasting middle section.

    Along with compositions by Händel, Bach, Rossini, Sibelius, Calace, Ranieri and Piazzolla, this Canzone by Jurriaan Andriessen is recorded on the 2nd CD 'Omaggio a Luigi Embergher' by the Dutch Mandolin Chamber Orchestra Het CONSORT.

    A Video by Het CONSORT (2003).

  • Leos Janacek, Kreutzer Sonata for Strings

    19:45

    Leos Janacek, Kreutzer Sonata for Strings

    1. Adagio
    2. Con moto
    3. Con moto (Vivace-Andate)
    4. Con moto (Adagio)

    Australian Chamber Orchestra
    Richard Tognetti, conductor

    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.

  • My Favorite Composers Pt. 3

    10:39

    Welcome to the 3rd part of My Favorite Composers!

    This part has composers as Beethoven, J. N. Hummel, Paganini, von Weber, Hérold, and Rossini.

  • Wolfgang Wijdeveld - Dedication for two guitars

    4:04

    Wolfgang Wijdeveld (1910-1985)

    Dedication : voor twee gitaren (1980)

    The Anido Guitar Duo


    Wolfgang Wijdeveld was a Dutch composer. His father was the famous architect H.Th. Wijdeveld, his mother was the cellist Ellen Kohn and his grandmother the Polish pianist Ruscha Schönfeld, a pupil of Brahms. Wolfgang studied piano with Cornelius Berkhout and harmony with Willem van Warmelo. At the Amsterdam Conservatory of Music he studied piano with Willem Andriessen, theory with Sem Dresden and Anton Tierie and violin with Cor Kint. He also had singing lessons from Saar van Alphen and he studied composition for two years with Willem Pijper. At first Wijdeveld worked as a pianist and composer with the Yvonne Georgi ballet, Estelle Reed, and the Ballet of the Low Countries. He toured the Unites States in 1939 with the Yvonne Georgi Ballet. From 1940 till 1946 he was managing director of the Music School in Zwolle. From 1946 to 1976 he taught piano and (from 1962) methodology at the Utrecht Conservatory of Music and from 1966 to 1970 also at the Conservatory of Arnhem. He was a music critic at the daily Het Vrije Volk from 1956 till 1968. In 1962 and 1963 he gave concerts and seminars (together with his father) at 15 universities throughout North America. For many years he was chairman of the Amsterdam branch of the Royal Dutch Composers' Association. Wolfgang Wijdeveld wrote ballet music for one or two pianos with orchestra. Important works are: 'Symphonische Ouverture' for orchestra, songs, sonatas for piano, for violin and compositions for accordion and guitar.

  • Alexei Lubimov 16th & 17th Century English composers for the virginal

    50:02

    Alexei Lubimov (modern) harpsichord
    'Sixteenth and Seventeenth Century English Composers for the Virginal' as part of the series 'A Thousand years of music'
    Released by Melodia, 1980 made in the USSR 33C 10-11291-92(a) KCS-36
    Not in the very best shape this recording especially side 2 shows some failures at 3'44, 28'12, 29'13, 29'31 and 39'06. Sorry.

    Side One
    WILLIAM BYRD (1543 - 1623)
    00:00 Pavan and 04:38 Galliard No. 10 (6.29).
    06:24 07:19 08:14 Three French Courantes (2.42)
    The Battle (17.26)
    09:09 01. Soldiers'oath of allegiance
    10:20 02. Infantry march
    11:08 03. Cavalry march
    12:16 04. Trumpets
    13:55 05. Irish march
    15:25 06. Bagpipe
    16:45 07. Flute and drum
    18:30 08. Battle
    20:34 09. Burial of the dead
    23:28 10. Melody
    24:08 11. Soldiers' dance
    24:55 12. Last post

    Side Two
    OR!LANDO GIBBONS (1583 - 1625)
    26:24 Fantasia (6.35).
    32:50 Lord Salisbury Pavan and 35:46 Galliard (5.00)
    JOHN BULL (1563-1628)
    37:45 Fantasia No. 5 (3.00).
    40:46 The Doctor Bull in Person Jig (1.08)
    41:56 Jesters (3.52).
    45:50 Fantasia No. 11 (4.12)

    In the 16th and the 17th centuries English composers for the virginal wrote some highly origin and profoundly national music, all of the highest quality and at times approaching sublimity. It was
    marked by artless and lyrical spontaneity. Even the virtuoso pieces often contained more than a hint of typically English melancholy. The composers, who had absorbed what was finest in continental
    music, in their tum enriched the latter, especially the Dutch and the German Klavier schools. Music written for the virginal presents several problems to the present-day performer, primarily in the choice of instrument for there are very few extant 16th and 17th century virginals . However, this music can also be played on small spinets and virginals (in which there is only one string to each note), as well as on large harpsichords . Since Alexei Lubimov has had no access to old instruments and had to do with a modern harpsichord, he has studied existing descriptions of the design of
    English and Dutch harpsichords of the 17th century as well as the period instructions for playing the virginal, which has prompted him to remain within the confines of a single register in some of
    the pieces, in view of the limited possibilities of the virginal. In other and longer pieces he has used an arrangement of 18th-century instruments: Two eight-foot and one four-foot registers , as well as their combinations and a lute device. Only one composition - W. Byrd's Battle, with its picturesque mosaic - allows the full range of the present-day harpsichord to be used.
    William Byrd, the outstanding composer, wrote three masses and other polyphonic church pieces. Organist of Queen Elizabeth's Chapel Royal, he was also a musical publisher. Music for the virginal comprises only a small part of his heritage, but its originality and impact put him in the forefront of composers for the virginal. His fantasias, variation cycles, dances and genre pieces are marked by the free use of church polyphony and masterly
    melodic decoration.
    Dances: pavans, galliards, courantes and jigs figured extens ively in virginal music. A good example is the three short French courantes by Byrd offered on this disc. Two other dances - a pavan and a galliard - often formed a small two-piece cycle, contrasting in tempo but united by a common tonality, and sometimes a common theme. Pavan and Galliard No. 10 are from Byrd's manuscript
    Ladye Nevells Booke (1591). The Battle - one of the first exemplars of programme Klavier music - is from the same source.
    Another brilliant composer, John Bull, became famous as; a virtuoso , whose concert tours of the Netherlands, France and Germany in 1601 not only brought him European acclaim but brought English music to the Continent. In his numerous pieces, with their unusual depth and sense of drama, Bull revealed a mastery innovation in Klavier technique, especially his fantasias. He often gave fanciful titles to his works, some of his pavans and
    galliards being styled Melancholy, Chromatic and Fantastic. The Doctor Bull in Person Jig is a study in irony.
    Orlando Gibbons, the youngest of the three great Elizabethans, was, like Byrd, an organist of the Chapel Royal, and produced a comparatively small number of works, including church music, madrigals and pieces for a viola consort and virginal. The grave and philosophical contemplation and even austerity of style have prompted some musicologists to compare - it with Beethoven's late sonatas (W. Apel in the Oxford History of Music). His splendid Fantasia for Four Voices - a polyphonic development of six themes - is one of the finest pieces for the virginal. The Pavan and Galliard dedicated to Lord Salisbury abound in refined melodies.
    A. Lubimov

  • Klaus Cornell, The Vine Der Weinstock, Zyklus für Violoncello und Streichorchester

    16:48

    Klaus Cornell, The Vine (Der Weinstock), Zyklus für Violoncello und Streichorchester

    1. Vineyard in Spring (Rebschnitt)
    2. Summer (Sommer)
    3. Thunderstorm (Gewitter)
    4. Autumn (Herbst)
    5. Death in the Vineyard (Tod im Rebberg)

    Michael Flaksman, cello
    Ensemble Incontro Heidelberg
    Ivo Hentschel, conductor

    Born on August 18, 1932 at Bern / Switzerland. Studied at Bern Music Conservatory and University as well as at the Salzburg Mozarteum. Holds degrees in orchestra conducting, opera direction, composition and musicology.
    In 1955 graduation with highest honors («summa cum laude»). Received «Price of the Austrian state» for composition.1956­1960.
    Opera conductor and composer­in­residence at Basel (Switzerland),Hamburg and Baden­Baden (Germany).
    1961­1987 Holds leading position at the Music depart­ ment of Swiss Radio. Guest conductor withmany European orchestras.
    Music directorof the Swiss Youth Symphony Orchestra, the Open Music Group, the Orchestre de Chambre Romand and the Kloten Chamber Orchestra.
    1983­1992 Music Director of the City of Schaffhausen /Switzerland and Music Director of it's Music Conservatory.
    Member of Jury at various international music competitions (Geneva, Lugano, Vienna). Artistic advisor for the «International Bach Society».1993.
    Emigration to the USA.
    2000 Klaus Cornell returns to Europe and settles down in Germany.

    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.

  • Tuning and Temperament with Malcolm Proud

    25:01

    In this short film, produced for the Irish Youth Baroque Orchestra, Malcolm Proud explains the principles of tuning and temperament in the Baroque era with reference to both the harpsichord and chamber organ.

    Supported by the Irish Association of Youth Orchestras, the Irish Baroque Orchestra and Arts Council Ireland.

  • Géza Frid, Concerto for Two Pianos and Orchestra, Op 55

    20:58

    Géza Frid, Concerto for Two Pianos and Orchestra, Op. 55:

    1. Allegro martellato
    2. Lento assai
    3. Allegretto giusto

    Luctor Ponse and Géza Frid, pianos
    Radio Philharmonic Orchestra (Netherlands Radio Symphony Orchestra)
    Willem van Otterlo, conductor

    Géza Frid (25 January 1904 – 13 September 1989) was a Hungarian–Dutch composer and pianist.
    Géza Frid was born in Máramarossziget in the Máramaros County of Austria-Hungary (present-day Romania) and studied piano and composition in Budapest with a.o. Zoltán Kodály and Béla Bartók. He settled in Amsterdam in 1929 and became a Dutch citizen in 1948. He died in Beverwijk and was buried at Zorgvlied cemetery.

    Frid gave many piano recitals all over the world: Italy (1926, 1955, 1965), Indonesia (1948–1949, 1951, 1956), Siam and Egypt (1951), Israel (1962, 1965, 1967), the Soviet Union, (1963), South- and North-America (1965, 1967), Turkey (1965), The Netherlands (1967), Surinam and the Netherlands Antilles (1970), the United States (1970, 1974), Hungary (1971, 1974). During the Second World War Frid was active in the resistance. He taught chamber music at the Conservatory of Music in Utrecht.

    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.

  • LUMINAR - Teardrop

    3:38



    This is our cover of Massive Attacks Teardrop. A fitting tribute or sacrilegious? Let us know in the comments!

    Instagram:
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    LUMINAR. A collaboration between Dutch composers Evert Zeevalkink and Sofia Dragt. Equal
    parts dream pop, indietronica and post rock.

  • Jan van Gilse - Variations on a Saint Nicolas Song

    21:37

    Jan van Gilse (1881-1944)

    Variaties over een St. Nicolaasliedje : for orchestra (1909)

    Orchestra: Netherlands Symphony Orchestra
    Conductor: David Porcelijn


    Jan van Gilse was a Dutch composer. He studied composition and conducting with Franz Wüllner at Cologne University (1897--1902). In 1902 he was awarded a prize for his First Symphony by the Beethoven Haus in Bonn. After studying with Humperdinck at the Akademische Meisterschule in Berlin, he worked as a conductor at the Bremen Opera, then at the Noord-Nederlandsche Opera in Amsterdam. In 1909 his Third Symphony was awarded the Michael Beer prize, which enabled him to work and study in Italy for two years. Afterwards he settled in Munich. During World War I van Gilse and his family returned to the Netherlands, and in 1917 he was appointed conductor of the Utrecht SO, with whom he gave many performances of works by contemporary French and Dutch composers. A conflict with the young Dutch composer Willem Pijper led to his resignation in 1922. After a short stay in Switzerland van Gilse settled in Berlin, where he started work on his autobiography (MS, NL-DHgm). He returned to the Netherlands, where he was appointed principal of the Utrecht Conservatory. In 1937 he resigned his position in order to devote himself to composition. In 1940 he completed his opera Thijl, based on the story of Tijl Uilenspiegel. After the Germans invaded the Netherlands in May 1940, van Gilse publicly opposed the banning of Jews from concert halls. After organizing a petition in protest against the Nazification of Dutch artistic life, he was accused of high treason and went into hiding. During this period his two sons, also active in the resistance movement, were killed by the Nazis. Van Gilse could not cope with his grief and died after a short illness.
    In addition to his work as a composer, van Gilse played a role in founding institutions designed to promote the interests of Dutch composers: the Genootschap van Nederlandsche Componisten (1911), the Bureau voor Muziek Auteursrecht (BUMA, the composers' performing rights society, 1913). In 1935 van Gilse founded the Stichtung Nederlandsche Muziekbelangen to promote the performance of Dutch music. The foundation's archive containing microfilms of Dutch music manuscripts became, after van Gilse's death, the basis of the publishing house Donemus (founded in 1947).
    Van Gilse took a relatively long time to develop a personal style as a composer. His German training, and the music of Mahler especially, left its mark on his early works up to 1916. Those written during and shortly after his years in Utrecht (1917--1922) testify to his intensive study of the works of French composers such as Debussy, Ravel and Roussel, particularly in their use of short motifs, augmented chords, parallel harmonies and their striving after colourful, transparent orchestration. From these German and French influences, a synthesis gradually developed, culminating in the cantata Der Kreis des Lebens (1928--1929), the opera Thijl (1938--1940) and the unfinished declamation Rotterdam (1942). In these three works van Gilse achieved an individual style, which rejects the anti-Romanticism of the French-style works. In Rotterdam and Thijl he makes use of elements from folk music.

  • Ken Higgins Plays folk song in style of great composers

    4:30

    Ken Higgins plays traditional folk song Bobbejaan klim die Berg as if composed by the famous composers Beethoven,Chopin,Strauss, Mozart.

  • In Paradisum: Spiritual Classical Melodies

    2:5:19

    Physical purchase:
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    This sublime compilation will take listeners on a journey through some of the most profound classical music ever written, demonstrating the wealth of inspiration that history’s greatest composers have found in spirituality and religion.

    Taking its title from the concluding movement of Fauré’s intensely moving Requiem, described by the composer as a ‘very human’ take on the traditional Mass for the Dead, the collection surveys a vast range of styles, eras and composers. Renaissance masterpieces – including Allegri’s famous Miserere, the remarkable 40-voice Spem in alium by Tallis and Palestrina’s Sanctus – sit alongside Romantic classics like Fauré’s Cantique de Jean Racine, a sophisticated choral hymn-setting, and Brahms’s Ave Maria. A number of Mozart’s best-loved works are present, including the Ave Verum and excerpts from his Requiem and ‘Great’ Mass in C minor, as are arias by J.S. Bach and Handel’s magnificent ‘Hallelujah’ Chorus from Messiah. Less traditional offerings are also featured, encapsulated in the folk-inspired strains of the finale of Mahler’s Symphony No.4. A rich selection of classics by Franck, Bruckner, Hassler, Pergolesi, Mendelssohn, Tchaikovsky and Verdi complete this stunning collection.

    Performed by the world’s best choirs, such as the King’s College Choir Cambridge, The Clare College Choir Cambridge, St John’s College Choir Cambridge, and the European Chamber Choir.

    00:00:00 Gabriel Fauré - In Paradisum (from: Requiem) by Holland Boys Choir, Pieter Jan Leusink
    00:03:14 Wolfgang Amadeus Mozart - Ave Verum by The Choir of St. John’s College Cambridge, Christopher Robinson
    00:06:48 César Franck - Panis Angelicus by The Choir of St. John’s College Cambridge, Christopher Robinson
    00:10:17 Giovanni Battista Pergolesi - Stabat Mater dolorosa by Angharad Gruffydd Jones (soprano), Lawrence Zazzo (countertenor), Cambridge Ensemble, Timothy Brown
    00:14:04 Wolfgang Amadeus Mozart - Laudate Dominum, KV 339 by Pamela Heuvelmans (soprano) Mannheim Kammerorchester, Nicol Matt
    00:19:11 Anton Bruckner - Locus iste by The Choir of St. John’s College Cambridge, Christopher Robinson
    00:21:45 Felix Mendelssohn - Denn er hat seinen Engeln befohlen (from: Elias) by The Choir of St. John’s College Cambridge, Christopher Robinson
    00:24:47 Hans Leo Hassler - Ave Maris Stella by The Choir of King’s College Cambridge, Stephen Cleobury
    00:30:31 Gabriel Fauré - Cantique de Jean Racine by The Choir of St. John’s College Cambridge, Christopher Robinson
    00:35:55 Gregorio Allegri - Miserere by The Choir of Clare College Cambridge, Timothy Brown

    00:48:33 Wolfgang Amadeus Mozart - Requiem aeternam (from: Requiem) by Chamber Choir of Europe Kamerorchester Pforzheim, Nicol Matt
    00:53:21 Johann Sebastian Bach - Ich habe genug, aria (from: Cantata, BWV 82) by Bas Ramselaar (bass), Netherlands Bach Collegium, Pieter Jan Leusink
    01:01:06 Wolfgang Amadeus Mozart - Et incarnatus est, aria (from: Mass in C Minor, KV 427) by Valentina Farcas (soprano), Camerata Würzburg, Nicol Matt
    01:10:14 Giuseppe Verdi - Agnus Dei (from: Requiem) by Sofia Philharmonic Choir & Orchestra, Ivan Marinov
    01:15:26 Johannes Brahms - Ave Maria by Chamber Choir of Europe, Nicol Matt
    01:18:52 Giovanni Battista Pergolesi - Quando corpus morietur (from: Stabat Mater) by Angharad Gruffydd Jones (soprano), Lawrence Zazzo (countertenor), Cambridge Ensemble, Timothy Brown
    01:22:40 Wolfgang Amadeus Mozart - Lux Aeterna (from: Requiem) by Chamber Choir of Europe Kamerorchester Pforzheim, Nicol Matt
    01:28:21 George Frideric Handel - Hallelujah (from: Messiah) by Holland Boys Choir, Pieter jan Leusink
    01:32:15 Johannes Brahms - Sacred Song/Geistliches Lied, Op. 30 by Chamber Choir of Europe, Nicol Matt
    01:37:32 Johann Sebastian Bach - Aus Liebe will mein Heiland sterben (from: Matthäus Passion) by Emma Kirkby (soprano), Brandenburg Consort, Stephan Cleobury
    01:42:06 Felix Mendelssohn - Psalm 42 Wie der Hirsch schreit by Chamber Choir of Europe, Würrtembergische Phillharmonie Reutlingen, Nicol Matt
    01:47:25 Pyotr Ilyich Tchaikovsky - Hymn of the Cherubim by Dumka National Choir of Ukraine, Yevhen Savchuk
    01:55:18 Thomas Tallis - Spem in Alium (from: Music for Queen Elizabeth) by Chapelle du Roi, Alistair Dixon

  • Cornelis Dopper, Symfonie Nr 1, Diana

    35:48

    Cornelis Dopper, Symfonie Nr. 1, Diana (1896)

    1. De Tempel van Diana - 00:00
    2. Balzaal in de ridderburcht - 11:08
    3. Dolende ridder in het woud op zoek naar Diana - 18:35
    4. In de Venusberg - 30:42

    Noord Nederlands Orkest
    Jürgen Kussmaul, conductor

    Photo: 1926. Left to right: Rudolf Mengelberg (1892-1959), Ottorino Resphighi, Willem Mengelberg (1871-1951), Igor Stravinsky (1882-1971), Cornelis Dopper (1870-1939), Mathilde Mengelberg-Wubbe (1875-1943), Sam Bottenheim, Mrs. Lourié, Arthur Lourié.

    Cornelis 'Kees' Dopper (7 February 1870, Stadskanaal – 19 September 1939, Amsterdam) was a Dutch composer, conductor and teacher.
    Born in the northern Dutch town of Stadskanaal, he came to study at the Leipzig conservatory with, among others, Carl Reinecke. After his studies he settled in Groningen, not far from his place of birth. His first opera, De blinde van Castel Cuillé (The Blind Girl of Castel Cuillé) was premiered in Amsterdam by De Nederlandse Opera under the baton of Cornelis van der Linden with some acclaim in 1894, and in that same year he entered the service of that company; here he worked as a violinist, chorus master and conductor.

    During the years 1904–1905 he worked as a music critic for the Amsterdam newspapers De Echo (The Echo) and Het Leven (The Life). A year later, Dopper joined the Savage Opera Company and began to tour the United States, Canada, and Mexico. In that capacity, he was responsible for the American premiere of Puccini's Madama Butterfly (1906). He subsequently toured the country with that opera for two seasons ('06-'07 and '07-'08). Having grown tired of touring life, he returned to Amsterdam in 1908 to become second conductor of the Amsterdam Concertgebouw Orchestra, assisting the famous conductor Willem Mengelberg. He would remain there until his retirement in 1931. In recognition of his compositions, his name still adorns one of the balustrades in the Concertgebouw's great hall, between those of Debussy and Richard Strauss.

    Dopper composed well over a hundred works. Because of his great love for Dutch folk song, culture and landscape, he was sometimes referred to as the 'most Dutch composer of all Dutch composers'. The titles of his symphonies attest to that sentiment: the 'Rembrandt' Symphony (No. 3), the 'Amsterdam' Symphony (No. 6), the 'Zuiderzee' Symphony (No. 7). Beside seven symphonies, Dopper wrote many other works for orchestra. Of these, his Ciaconna Gotica is the most famous, and is often considered to be Dopper's masterpiece. Many of his works were performed in great concert halls by famous conductors (e.g., Richard Strauss, Willem Mengelberg, Pierre Monteux and Otto Klemperer).

    In addition, Dopper wrote chamber music (e.g., a string quartet, a violin sonata, and a sextet for woodwind and piano). His interest in musical education for the young caused him to write a great number of works for children's choir. In Amsterdam, Dopper introduced specific youth concerts.

    Dopper died in 1939 and was buried at Zorgvlied cemetery.

    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.

  • Rafael Compta

    17:19

    ★ Follow music ►

    Composer: Rafael Compta (1761-1815)
    Work: Saltando y brincando (1813)
    Performers: Clara Valero (soprano); Òscar Bonany (contralt); Ferran Campabadal (tenor); Xavier Pagès (baix); Música Antiga de Girona; Albert Bosch (direcció)

    Painting: Balthasar Beschey (1708-1776) - Commedia dell'Arte
    Image in high resolution:

    Further info:
    Listen free: No available

    ---

    Rafael Compta
    (Vic, 1761 - Vic?, 1815)

    Was a musician from Vic and chapel master of the cathedral of Girona (1794-1815), where he was ordained a priest. In the Chapter Archive of Girona there are 77 of his compositions conserved. An enemy of the French, he suffered from their presence in the city. His authority before the choirboys of this chapel was precarious. He collaborated with young musicians from Vic, bringing them to Girona. Even though he was aware of the new musical currents from Vienna, his music is conservative. Música Antiga of Girona has published two works: the famous Te Deum of 1814, in which he derides the defeated Napoleon, and a Villancico burlesco, burlesque Christmas carol, composed under French occupation, where he criticises the dances that the invaders have brought to the city. He died in August 1815 while returning to Girona from his native town Vic.

    “Saltando y brincando” Villancico burlesco, was written at Christmas 1813 while the french continued to control the city. “Burlesco” was a type of Christmas carol with many concessions to popular tastes and far from the rigidity of liturgical texts. The lyrics are a dramatization of and evangelic narrative of little relevance, which avoids any reference to more significant themes. The surprising criticism of the doctors of that time has to be understood of as a result of his ilness, as he would die 18 months later. In the text, the shepherds, while walking, talk about common subjects such as food and drink, and besides that, one of the shepherds is called “Liborio”. These details cause as to think of the difficulties and deprivation experienced under the french occupation. On arriving at the cave they offer the Child some food, but the main gift is a “bolero” whose lyrics are a criticism of the French invader. That dance was quite fashionable at the court of Bourbon and for this reason it is used by the composer as opposition to the French style. Compta created a remarkable piece while ridiculing “manfredinas“ and “bolangeras”, foreign dances that some people danced in Girona. The text, in verse, is forced on more than one ocasion as though the text had not been properly revised. The lyrics and dramatization are not the best of the piece. The melody shows an Italian influence, normal in the city, as a rustic, pastoral quality. Over the years, many dramatic elements will be expelled from the cathedral to became part of the Nativity Plays (“Pastorets”).

  • Wolfgang Wijdeveld - Sonata for two violins and piano

    19:07

    Wolfgang Wijdeveld (1910-1985)

    Sonate : voor 2 violen en piano (1954)

    1. Allegro deciso ma non troppo - 00:00
    2. Lento - 05:06
    3. Allegro molto 13:39

    Birthe Blom, violin
    Cécile Gouder de Beauregard, violin
    Daniel Kramer, piano


    Wolfgang Wijdeveld was a Dutch composer. His father was the famous architect H.Th. Wijdeveld, his mother was the cellist Ellen Kohn and his grandmother the Polish pianist Ruscha Schönfeld, a pupil of Brahms. Wolfgang studied piano with Cornelius Berkhout and harmony with Willem van Warmelo. At the Amsterdam Conservatory of Music he studied piano with Willem Andriessen, theory with Sem Dresden and Anton Tierie and violin with Cor Kint. He also had singing lessons from Saar van Alphen and he studied composition for two years with Willem Pijper. At first Wijdeveld worked as a pianist and composer with the Yvonne Georgi ballet, Estelle Reed, and the Ballet of the Low Countries. He toured the Unites States in 1939 with the Yvonne Georgi Ballet. From 1940 till 1946 he was managing director of the Music School in Zwolle. From 1946 to 1976 he taught piano and (from 1962) methodology at the Utrecht Conservatory of Music and from 1966 to 1970 also at the Conservatory of Arnhem. He was a music critic at the daily Het Vrije Volk from 1956 till 1968. In 1962 and 1963 he gave concerts and seminars (together with his father) at 15 universities throughout North America. For many years he was chairman of the Amsterdam branch of the Royal Dutch Composers' Association. Wolfgang Wijdeveld wrote ballet music for one or two pianos with orchestra. Important works are: 'Symphonische Ouverture' for orchestra, songs, sonatas for piano, for violin and compositions for accordion and guitar.

  • Pieter Hellendaal - Concerto Grosso Op. 3, No. 2

    11:10

    Pieter Hellendaal (1 April 1721 – 19 April 1799) was an Anglo-Dutch composer, organist and violinist. He was sometimes distinguished with the suffix The Elder, after the maturity of his musician son, Pieter Hellendaal the Younger.

    At age 30, he migrated to England where he lived for the last 48 of his 78 years. He was one of the most famous composers of Dutch origin in the 18th century.

    Grand Concerto Op. 3, No. 2

    Combattimento Amsterdam conducted by Jan Willem de Vriend

  • Pieter Hellendaal - Concerto Grosso Op. 3, No. 1

    9:49

    Pieter Hellendaal (1 April 1721 – 19 April 1799) was an Anglo-Dutch composer, organist and violinist. He was sometimes distinguished with the suffix The Elder, after the maturity of his musician son, Pieter Hellendaal the Younger.

    At age 30, he migrated to England where he lived for the last 48 of his 78 years. He was one of the most famous composers of Dutch origin in the 18th century.

    6 Grand Concertos Op. 3

    No. 1

    Combattimento Consort Amsterdam conducted by Jan Willem de Vriend

  • Cornelis Dopper, Symfonie Nr 7 Zuiderzee

    35:33

    Cornelis Dopper, Symfonie Nr. 7 Zuiderzee (1917)

    1. Allegro animato - 00:00
    2. Humoreske: moderato - 14:35
    3. Andante rubato - 18:34
    4. Finale - 28:31

    Netherlands Radio Symphony Orchestra
    Kees Bakels, conductor

    Zuiderzee, its name is Dutch for southern sea, indicating that the name originates in Friesland, to the north of the Zuiderzee (cf. North Sea).
    In the 20th century the majority of the Zuiderzee was closed off from the North Sea by the construction of the Afsluitdijk, leaving the mouth of the inlet to become part of the Wadden Sea. The salt water inlet changed into a fresh water lake now called the IJsselmeer (IJssel Lake) after the river that drains into it, and by means of drainage and polders, an area of some 1,500 km2 (580 sq mi) was reclaimed as land. This land eventually became the province of Flevoland, with a population of 422,000 (2019).

    Cornelis 'Kees' Dopper (7 February 1870, Stadskanaal – 19 September 1939, Amsterdam) was a Dutch composer, conductor and teacher.
    Born in the northern Dutch town of Stadskanaal, he came to study at the Leipzig conservatory with, among others, Carl Reinecke. After his studies he settled in Groningen, not far from his place of birth. His first opera, De blinde van Castel Cuillé (The Blind Girl of Castel Cuillé) was premiered in Amsterdam by De Nederlandse Opera under the baton of Cornelis van der Linden with some acclaim in 1894, and in that same year he entered the service of that company; here he worked as a violinist, chorus master and conductor.

    During the years 1904–1905 he worked as a music critic for the Amsterdam newspapers De Echo (The Echo) and Het Leven (The Life). A year later, Dopper joined the Savage Opera Company and began to tour the United States, Canada, and Mexico. In that capacity, he was responsible for the American premiere of Puccini's Madama Butterfly (1906). He subsequently toured the country with that opera for two seasons ('06-'07 and '07-'08). Having grown tired of touring life, he returned to Amsterdam in 1908 to become second conductor of the Amsterdam Concertgebouw Orchestra, assisting the famous conductor Willem Mengelberg. He would remain there until his retirement in 1931. In recognition of his compositions, his name still adorns one of the balustrades in the Concertgebouw's great hall, between those of Debussy and Richard Strauss.

    Dopper composed well over a hundred works. Because of his great love for Dutch folk song, culture and landscape, he was sometimes referred to as the 'most Dutch composer of all Dutch composers'. The titles of his symphonies attest to that sentiment: the 'Rembrandt' Symphony (No. 3), the 'Amsterdam' Symphony (No. 6), the 'Zuiderzee' Symphony (No. 7). Beside seven symphonies, Dopper wrote many other works for orchestra. Of these, his Ciaconna Gotica is the most famous, and is often considered to be Dopper's masterpiece. Many of his works were performed in great concert halls by famous conductors (e.g., Richard Strauss, Willem Mengelberg, Pierre Monteux and Otto Klemperer).

    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.

  • Henk Badings, Concerto for organ and orchestra

    24:27

    Henk Badings, Concerto for organ and orchestra (1952)

    1. Lento
    2. Adagio ma non troppo
    3. Allegro giocoso

    Wim van Beek, organ
    North Netherlands Symphony Orchestra
    Conductor unknown

    Henk Badings (17 January 1907 – 26 June 1987) was a Dutch composer.

    Born in Bandung, Java, Dutch East Indies, as the son of Herman Louis Johan Badings, an officer in the Dutch East Indies army, Hendrik Herman Badings became an orphan at an early age. Having returned to the Netherlands, his family tried to dissuade him from studying music, and he enrolled at the Delft Polytechnical Institute (later the Technical University). He worked as a mining engineer and palaeontologist at Delft until 1937, after which he dedicated his life entirely to music. Though largely self-taught, he did receive some advice from Willem Pijper, the doyen of Dutch composers at the time, but their musical views differed widely and after Pijper had attempted to discourage Badings from continuing as a composer, Badings broke off contact.

    In 1930 Badings had his initial big musical success when his first cello concerto (he eventually wrote a second) was performed at the Concertgebouw in Amsterdam. Champions of his work included such eminent conductors as Eduard van Beinum and Willem Mengelberg. He held numerous teaching positions; e.g., at the Musikhochschule Stuttgart and the University of Utrecht. Accused after the Second World War of collaboration with the Nazi occupation forces, he was briefly banned from professional musical activity, but by 1947 he had been reinstated.

    Badings used unusual musical scales and harmonies (e.g., the octatonic scale); he also used the harmonic series scale from the eighth to the fifteenth overtone.[An exceptionally prolific artist, he had produced over a thousand pieces at the time of his death, which took place at Maarheeze in 1987.

    Compositions by Badings include fifteen numbered symphonies, at least four string quartets, several concertos, other orchestral works including a Symphonietta : speelmuziek voor klein symphonie-orkest, other chamber music works, piano works, and incidental music.

    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.

  • Jesse Passenier | Fluid Orchestra – LIT SCENES – Music Video

    6:05

    Jesse Passenier is a Dutch composer, arranger, conductor, pianist, and percussionist whose music builds bridges between jazz and classical styles. Jesse Passenier is the winner of the Rogier van Otterloo Award 2017, acknowledging his success in this process of bringing together musical genres.

    By 2010, Jesse Passenier was ‘Young Composer in Residence’ at the MECC Jazz Festival in Maastricht, and in 2011 he was one of the four laureates of the International Composition Contest of the Brussels Jazz Orchestra. In the same year, he founded his own Broad Music Orchestra, predecessor of his current Fluid Orchestra.

    In 2012 Jesse Passenier started writing his first string quartet at the same time as working on the first movement of his Fantasy, and even though the idioms and overall styles of the two pieces were different, he came to realise that he wanted to connect them in one project. This project evolved into the unique and radiant music featured on this disc: LIT SCENES.

    Lit Scenes is a fascinating and irresistible combination of jazz, influenced by big-band composers such as Gil Evans, Bob Brookmeyer and Vince Mendoza, and classical, building on a long tradition of music for string quartet, but with particular links to the writing of György Ligeti, Béla Bartók and Maurice Ravel.

  • How To Create Awesome & Unique Risers - Hybrid Orchestral Sound Design

    8:17

    This is a topic that I had on my list for quite a while. It's about risers! How to create awesome and unique risers for your (hybrid) orchestral music tracks. Creating a sound that distinguishes you from the flock of composers. Maybe we can even talk about a signature sounds eventually. And it is super easy! You can experiment and get great sounds just by using a default stock plugin like I show you in the video.

    ???? Become a Patron and download the midi-mockups and high audio files of my productions:

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    ✅ MASTERCLASS REALISTIC ORCHESTRAL MOCKUPS
    How great is it to look over the shoulders of someone who is one step ahead of you. And is willing to share his knowledge and experiences.


    ✅ IN DEPTH COMPOSING WALKTHROUGHS
    In these walkthrough videos I'll take you to my DAW and show you in detail how I write orchestral music for film and video.


    ✅ TIPS AND TRICKS TO GETTER BETTER IN WRITING ORCHESTRAL MUSIC
    In this playlist you can find tips and tricks to get your basic setup right. And to give you a jumpstart in making realistic sounding orchestral mockups!


    ✅ ORCHESTRATION
    If your goal is to write realistic orchestral music (mockups). That your composition once get played by a real orchestra. The knowledge of orchestration is very important. Then you should invest in getting better in it.


    ???? My official music releases

    All music tracks are originally composed, mixed and mastered by David Jansen (gh0stwrit3r).
    All have been officially registered at BUMA/STEMRA, the Dutch P.R.O. organisation.


    ???? Tips to get better in orchestration

    » listen to orchestral film music (preferably John Williams, Jerry Goldsmith or Alexandre Desplat ...)
    » Listen and study work from Pjotr Iljitsj Tsjajkovski, Ravel and Stravinsky
    » let your composition be played by real instruments (maybe you know some people)
    » transcribe, transcribe, transcribe!

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    Don't forget to hit that like button if you appreciate this video. And sub to my channel if you're interested in how to write music for film, tv and games. Or have an interest in sounddesign and sound recording.

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    #Gh0stwrit3r #orchestral #logicprox

  • Peter R Farmer, Symphony No 3

    25:05

    Peter R. Farmer, Symphony No. 3 (2000)

    1. Allegro (The Hound of Heaven)
    2. Larghetto
    3. Giocoso e energico

    Moravian Philharmonic
    Vít Micka, conductor

    Peter Farmer (14 October 1941) is a composer whose musical roots are varied. His father sang with the Wiffenpoofs at Yale; his mother was a pianist who introoduced him to the classics. In his early teens, he discovered jazz: first Traditional, then Swing and Duke Ellington, and finally the Bebop school. He credits his love of polyphony to the influence of traditional jazz. He was inspired to take up the trumpet and at the age of eighteen he attended the Lenox School of Jazz at Lenox, Massachusetts. where he played in an ensemble directed by Kenny Dorham. After an extended period as a jazz trumpeter, he switched to saxophone in 1985 and was active for some years as a player in the Boston area. It was, he states, the improvisational element of jazz that led me to composition.
    Farmer received his Bachelor of Music in composition from the Boston Conservatory in 1969, where he studied under Avram David. Two years prior to that he attended the Ferienkurze für neue Musik in Darmstadt, Germany where he participated in composing and performing 'Ensemble', a cooperatively composed orchestral work under the direction of Karlheinz Stockhausen. Farmer attended the University of Michigan where he recieved his M.M. in composition in 1976. His teachers were William Albright, William Bolcomb, George Wilson, and Leslie Bassett. He received his D.M.A. in composition in 1982 from the same university and since then has taught music theory/composition at Berklee College of Music and theory/solfege at Lowell State University.

    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.

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