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Playlist of Simeon ten Holt

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  • Simeon ten Holt - Canto Ostinato - Section 74

    10:47

    Исполнители:
    Aart Bergwerff, organ
    Marcel Bergmann, piano
    Sandra van Veen, piano
    Jeroen van Veen, piano

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  • Fuse live: Capriccio

    5:26

    Fuse (the Netherlands) performs Capriccio.
    An original composition by Simeon Ten Holt (01/23/1923 - 11/25/2012).
    Arranged for Fuse by Max Knigge.

    Recorded at Concertgemaal Amsterdam (2019)
    Recorded and mixed by Spot on Sound | Yeppe van Kesteren
    Filmed & edited by Benjamin Kamps


    Performed by Fuse フューズ


    More music by Fuse:
    Listen to album Studio 2:


    Thanks to
    Concertgemaal Amsterdam
    Donemus
    NMF

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  • Ten Holt: Canto Ostinato XXL played by Jeroen van Veen

    4:8:57

    Tracklist Below:
    Spotify:
    Physical Sale:
    iTunes:

    Following on from Canto Ostinato XL earlier this year, Brilliant Classics is proud to present Canto Ostinato XXL, a recording that brings a new perspective to Simeon ten Holt’s minimalist composition by adding a Romantic organ to the work’s original scoring for four pianos – a combination never before attempted. The result is the most beautiful and harmonious of sounds, one that captures Canto Ostinato’s emotional variety and depth through building on the sweetness and simplicity that inhabit this acclaimed composition, first performed in 1979.
    Canto Ostinato is all to do with time: ‘taking your time, passing time, making time,’ as Jeroen van Veen, and one of the performers on the four-disc set, explains; and this is partly effected through the artists’ decision to repeat certain of the composition’s sections (106 in total) ad lib, thus inducing a sort of alienation of the part of the listener (because of the repetition’s posterior relationship to the harmony) and creating a hypnotic effect, a regular feature of minimalist music. Recorded over the course of just one day, this four-hour arrangement slows the tempo down a little, in order to accommodate the magnificent acoustics of the Muziekgebouw Eindhoven. Joining organist Aaart Bergwerff and Brilliant Classics regulars Sandra and Jeroen van Veen, all of whom feature on XL, are the acclaimed piano duo Elizabeth and Marcel Bergmann, both experts in the minimalist genre and who also enjoy separate international careers. Jeroen van Veen chairs the Simeon ten Holt Foundation, dedicated to keeping the wonderful music of this late Dutch composer alive.

    Other information:
    - Recorded 19 May 2014.

    00:00:00 Canto Ostinato: Section 1
    00:05:00 Canto Ostinato: Section 5
    00:12:10 Canto Ostinato: Section 10
    00:32:10 Canto Ostinato: Section 17
    00:38:42 Canto Ostinato: Section 20
    00:46:46 Canto Ostinato: Section 23
    00:58:28 Canto Ostinato: Section 34
    01:02:11 Canto Ostinato: Section 37
    01:03:23 Canto Ostinato: Section 37
    01:08:05 Canto Ostinato: Section 41
    01:18:51 Canto Ostinato: Section 56
    01:22:35 Canto Ostinato: Section 60
    01:31:04 Canto Ostinato: Section 69
    01:39:33 Canto Ostinato: Section 74. Cumulation No. 1
    01:53:02 Canto Ostinato: Section 83
    02:03:33 Canto Ostinato: Section 88
    02:07:14 Canto Ostinato: Section 88 A
    02:10:54 Canto Ostinato: Section 88 B
    02:13:35 Canto Ostinato: Section 88 C
    02:33:02 Canto Ostinato: Section 88 A
    02:42:15 Canto Ostinato: Section 88 F
    02:56:05 Canto Ostinato: Section 88 H
    03:02:04 Canto Ostinato: Section 89
    03:05:50 Canto Ostinato: Section 91 A
    03:07:49 Canto Ostinato: Section 91 A
    03:16:25 Canto Ostinato: Section 91 C
    03:22:38 Canto Ostinato: Section 91 E
    03:38:30 Canto Ostinato: Section 91 I
    03:46:18 Canto Ostinato: Section 92
    03:51:12 Canto Ostinato: Theme No. 2. Cumulation No. 2
    04:02:20 Canto Ostinato: Section 105
    04:04:21 Canto Ostinato: Section 106

    Artist:
    Jeroen van Veen (piano)
    Sandra van Veen (piano)
    Marcel Bergmann (piano)
    Elizabeth Bergmann (piano)
    Aart Bergwerff (organ)

  • Simeon ten Holt - Canto Ostinato Pt. 1

    14:15

    Played by Sandra & Jeroen van Veen. These are sections 1, 5, 10 and 15. You can buy the album at

    Visit my classical music blog at

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  • Canto Ostinato live in Veldhoven 2012 by Piano Ensemble

    2:25:33

    Jeroen Riemsdijk, Tamara Rumiantsev, Sandra & Jeroen van Veen

  • Simeon ten Holt - Canto Ostinato Oscar Alblas

    11:26

    Oscar Alblas and Martin de Greef perform a short version of Simeon ten Holt's much-loved piece Canto Ostinato. For information and/or bookings, get in touch via or

    music - Simeon ten Holt
    arrangement - Oscar Alblas
    vibraphone - Oscar Alblas
    marimba - Martin de Greef
    live sound - Koen Keevel
    camera - Jan Alblas

    This arrangement of Canto Ostinato saw the light of day in 2007. Back then, it was created for a one-off chamber music project, but its reception was so overwhelmingly positive that this 'summary' of Canto... has since then become a recurring feature in percussion concerts I play. This particular performance took place on May 27th, 2010 at Theater Zuidplein in Rotterdam (The Netherlands).

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  • Palimpsest: Introduction

    6:57

    Provided to YouTube by The Orchard Enterprises

    Palimpsest: Introduction · Doelen Ensemble · Simeon ten Holt

    Palimpsest

    ℗ 2016 Composers Voice

    Released on: 2005-06-21

    Auto-generated by YouTube.

  • Canto Ostinato - dervish dance and organ

    8:49

    Connecting Arts - The European Organ Festival (2-8 October 2011)


    Simeon ten Holt - Canto Ostinato
    A Spiritual Concert: East meets West

    organ
    Aart Bergwerff

    dervish dance
    Kadir Sonuk


    Sunday 2 October 17.00
    Domkerk Utrecht
    free entrance

    Video recording
    17 September 2011
    Grote Kerk Vianen

    © 2011 Hans Hijmering - Photo & Film

  • Canto Ostinato for four pianos, Simeon ten Holt.

    1:22

    Fascinating performance by Gerard Bouwhuis, Cees van Zeeland, Ariëlle Vernède and Gene Carl.
    June 1985, Holland Festival.

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  • Simeon ten Holt - Solo Devil Dance 4 Alexei Lubimov

    25:07

    Simeon ten Holt - Solo Devil Dance 4 Alexei Lubimov

  • Meandres - Simeon ten Holt door Rondane Kwartet

    7:24

  • Simeon ten Holt - Bi-Ba-Bo

    10:24

    Simeon ten Holt (1923-2012)

    Bi-Ba-Bo : voor vocaal kwartet (1980)

    Quink Vocaal Ensemble

    dedicated to Electric Phoenix


    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Alexei Lubimov - Simeon ten Holt/ from: Solo Devils Dance nr. IV

    4:55

    full episode:
    Russian masterpianist Alexei Lubimov performs a fragment from Solo Devil's Dance nr IV, composed by Dutch composer Simeon Ten Holt. Ten Holt's composition Solo Devil's Dance nr IV (Soloduiveldans) was completed in 1998.
    Alexei Lubimov has a special connection with the music composed by ten Holt. Famous Canto Ostinato is one of Lubimov's favorite pieces

    More music on:
    This video was recorded @Bimhuis Amsterdam. VPRO Vrije Geluiden is a music program made by the Dutch public broadcast organization VPRO

  • Simeon ten Holt: Lemniscaat, Refrain

    1:46

  • Pianoduo Sandra & Jeroen van Veen - Simeon ten Holt/ From: Canto Ostinato

    3:56

    96

  • Live from Simeon ten Holts house #11

    14:00

    Support these concerts via

    Pianist: Marnix van de Poll
    Live from Simeon ten Holt's house.
    Daily from 08:45 - 09:00 Monday to Friday (time zone Amsterdam).

  • Horizon - Simeon ten Holt door Rondane Kwartet

    9:21

  • Simeon ten Holt - Soloduiveldans III

    9:19

    Simeon ten Holt (born 1923 in Bergen, Netherlands) composed this piece in 1990

  • The best piano pieces 05: Simeon Ten Holt - Canto Ostinato

    8:29

    Artist: Simeon ten Holt
    Song/Piece: Canto Ostinato (section 73 - section 84, played by de Haas & Wieringa)
    Photo: sea (Dishoek, Netherlands)

    Listen to the other pieces too if you liked it!
    01:
    02:
    03:
    04:
    06:
    07:
    On my channel is a lot more piano music.

    For entertainment purposes only.
    No copyright infringement is intended!

  • Incantatie IV - Simeon ten Holt door Rondane Kwartet

    6:42

    Registratie concert gegeven op 23 april 2014 in kerk De Duif te Amsterdam. Pianisten Daphne Keune, Robert Lambermont, Petra van Oort en Laura Sandee.

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  • Simeon ten Holt - Palimpsest

    51:56

    Simeon ten Holt (1923-2012)

    Palimpsest : for string septet (1990-1992)

    1. Introduction - 00:00
    2. Episode - 06:56
    3. Changement I - 15:29
    4. Episode II - 15:50
    5. Changement II - 29:39
    6. Interlude - 30:00
    7. Changement III - 33:50
    8. Episode III - 34:11
    9. Episode IV (reprise) - 42:02
    10. Changement IV - 48:55
    11. Coda - 49:14

    Doelen Ensemble


    Program note (Dutch): De titel Palimpsest komt uit het Grieks en gaat in de historie terug naar een perkamentrol, die na afkrabbing of onzichtbaarmaking van het oorspronkelijk geschrevene, opnieuw beschreven is. Vaak bleef de originele tekst enigszins leesbaar. Deze laatste eigenschap is in de compositie voor de luisteraar steeds waarneembaar. Ondanks verschillen in toonsoort of karakter blijft de thematiek terug te herleiden tot het beginthema. De eerste en tweede viool introduceren het thema, waarna de compositie door een opeenstapeling tot leven komt. De totale vorm van de compositie is ingedeeld in een aantal episodes die van elkaar gescheiden worden door zogenaamde changementen. Hierin geven de violisten de snelle bewegingspartij als bij een estafette aan elkaar over. Na het tweede changement volgt een Interlude die is te beschouwen als een chromatische en doorgecomponeerde lus, na de vierde episode volgt een coda. - SIMEON TEN HOLT

    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Simeon ten Holt - Suite for string quartet

    23:12

    Simeon ten Holt (1923-2012)

    Suite : voor strijkkwartet (1954-1955)

    Mondriaan Kwartet

    dedicated to Peter


    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Simeon ten Holt: Canto Ostinato - Ivo Janssen - Muziekcentrum van de Omroep

    1:9:28

    Zie ook een andere uitvoering van Canto Ostinato, door de vier pianisten Elizabeth Bergmann, Marcel Bergmann, Sandra van Veen en Jeroen van Veen. Tijdens het concert werden luchtfoto's van de Nederlandse fotograaf Karel Tomeï geprojecteerd:

    Take a look at another Canto Ostinato, played by the four pianists Elizabeth Bergmann, Marcel Bergmann, Sandra van Veen en Jeroen van Veen. During the concert, aerial pictures of The Netherlands were shown:

    Kijk voor meer concerten op:

    Simeon ten Holt: Canto Ostinato

    Ivo Janssen, piano

    Opgenomen 5 oktober 2014 in het Muziekcentrum van de Omroep.

    Het concert is een onderdeel van de reeks Piano & Passie: een serie pianoconcerten waarin vijf Nederlandse toppianisten muziek spelen, gecombineerd met beelden van hun persoonlijke passie. Ivo Janssen was de eerste in de reeks, met Canto Osinato van Simeon ten Holt. Op de achtergrond worden filmbeelden getoond van Janssens tweede passie, naast pianospelen: verbouwen.

    De overige vier Nederlandse pianisten in de concertreeks, die later dit seizoen spelen, zijn Ralph van Raat, Christiaan Kuyvenhoven, Thomas Beijer en Paolo Giacometti. Kijk voor meer informatie op de website van MCO:

    -

  • Jeroen van Veen plays: Soloduiveldans II, Ten Holt

    1:7:20

    Jeroen van Veen plays Ten Holt; Solo Devil Dance II

  • LIVE HD Canto Ostinato | COMPLETE | Rondane Kwartet | 4 Fazioli Pianoforti | April 2017

    1:39:20

    Complete Live Canto Ostinato concert by Rondane Kwartet on four Fazioli Pianoforti.

    Complete Live uitvoering van Canto Ostinato door het Rondane Kwartet op vier Fazioli Pianoforti.

    With/met Daphne Keune, Laura Sandee, Robert Lambermont en Petra van Oort. Four grand pianos one body of sound | Vier vleugels één klanklichaam.
    Contact: info[at]rondanekwartet.nl

    Church De Duif Amsterdam, April 2017

    Our gratitude goes out to Mieke Fonds, Dick and Marijke Snellenberg, SofieSound and Stadsherstel Amsterdam.

    For info and booking:

  • Horizon by Simeon ten Holt, II-III, live by Piano Ensemble on four pianos

    1:3:26

    Horzion for four pianos played by Piano Ensemble, live in Ruinekerk Bergen
    Part II-III

  • Ten Holt: Canto Ostinato played by Jeroen van Veen

    2:24:41

    Tracklist below.
    Download via iTunes:
    For physical sales:
    Listen via Spotify:
    ‘My compositions take shape without any predetermined plan and are, as it were, the reflection of a quest for an unknown goal.’ Simeon ten Holt

    The Dutch composer Simeon ten Holt (b.1923) began his career immersed in the intricacies and innovations of serialism, exploring what he described as ‘the semantics of musical language’ in an endeavour to expand his musical expression. However, in 1970 he abandoned the complex twelve-note technique that had been the standard since the Second World War, and returned to sounds and patterns that were easier for the ear to understand. In doing so, he created a unique Dutch minimalist style, using simple triads, shifting rhythmic patterns and repetition.

    Canto Ostinato, scored for four grand pianos, is the quintessential example of Ten Holt’s groundbreaking minimalist style, one of his most well-known and critically-acclaimed compositions. Constructed using short cells that can be repeated an indeterminate number of times by performers, the music is hypnotic and emotionally moving, taking listeners on a journey through musical landscapes. With an expert performance by Piano Ensemble, a group that includes a number of specialists in minimalism, this recording is authoritative, complex yet accessible, and an essential addition to the collection of anyone interested in minimalism.
    00:00:00 Canto Ostinato, Part I: Section 1
    00:03:54 Canto Ostinato, Part I: Section 5
    00:08:09 Canto Ostinato, Part I: Section 10
    00:13:30 Canto Ostinato, Part I: Section 14
    00:22:12 Canto Ostinato, Part I: Section 20
    00:30:23 Canto Ostinato, Part I: Section 25
    00:37:25 Canto Ostinato, Part I: Section 35
    00:42:44 Canto Ostinato, Part I: Section 41
    00:50:32 Canto Ostinato, Part I: Section 56
    00:54:31 Canto Ostinato, Part I: Section 60
    00:55:41 Canto Ostinato, Part I: Section 69
    00:59:52 Canto Ostinato, Part I: Theme I, Section 74
    01:05:04 Canto Ostinato, Part I: Section 78
    01:08:27 Canto Ostinato, Part I: Section 83
    01:14:50 Canto Ostinato, Part II: Section 88 A
    01:22:22 Canto Ostinato, Part II: Section 88 B
    01:31:06 Canto Ostinato, Part II: Section 88 E
    01:36:53 Canto Ostinato, Part II: Section 88 F
    01:45:37 Canto Ostinato, Part II: Section 88 C
    01:52:04 Canto Ostinato, Part II: Section 89
    01:54:42 Canto Ostinato, Part II: Section 91 A
    01:57:25 Canto Ostinato, Part II: Section 91 C
    02:01:43 Canto Ostinato, Part II: Section 91 E
    02:09:43 Canto Ostinato, Part II: Section 92
    02:11:15 Canto Ostinato, Part II: Theme II, Section 95
    02:16:13 Canto Ostinato, Part II: Section 97
    02:20:03 Canto Ostinato, Part II: Section 105
    02:21:46 Canto Ostinato, Part II: Section 106

  • Marnix van de Poll - Simeon ten Holt/ Aforisme 2

    3:50

    Pianist Marnix van de Poll performs Aforisme 2, composed by Simeon Ten Holt.

    Pianist Marnix van de Poll resided for a while in the cottage previously owned by late composer Simeon Ten Holt (1923-2012). Dutch composer Simeon ten Holt is known for his masterpiece Canto Ostinato. The cottage he used to compose in is now a residence for artists. Marnix stayed there and got inspiration for his 2019 album 'In Simeon's House'

    More music:
    More about Marnix van de Poll:

    Broadcast November 10th 2019
    This video was recorded in TivoliVredenburg for VPRO Vrije Geluiden: music program made by the Dutch public broadcast organization VPRO
    Camera operators: Ramon de Boer, Marijn Zurburg, Maria Smeets, Carrien Dijkstra
    Audio: Marc Broer, Philip ten Brink
    Videodirector: Reinier Bruijne


    twitter, instagram @vrijegeluiden

  • Horizon by Simeon ten Holt, III-III, live by Piano Ensemble on four pianos

    29:55

    Horizon Part III, Simeon ten Holt
    Piano ensemble on four grand pianos
    Irene Russo, Fred Oldenburg, Sandra & Jeroen van Veen


  • Simeon ten Holt - Neither shadow nor prey

    1:4:01

    Simeon ten Holt (1923-2012)

    Schaduw noch prooi : voor voor twee piano's (1993-1995)

    Fred Oldenburg, piano
    Jeroen van Veen, piano


    Program note (Dutch): Net als een aantal van mijn andere composities is Schaduw noch prooi een keten van sekties (muzikale objecten) die, doordat ze worden herhaald, streven naar een zekere zelfstandigheid ten opzichte van het geheel. Maar het stuk karakteriseert zich door het feit dat iedere sektie, ongeacht of die alleen staat of deel is van een groter geheel, een 'ruimtelijk' oppervlak beslaat dat met sektie I is uitgezet. De compositie zoekt, zonder van de plaats te komen, z'n weg in vertikale richting en torent zich omhoog via etages, ommegangen en overlopen (bruggen), in heen- en teruggaande beweging. Van hoogte (d.w.z. duur) kan alleen worden gesproken vanuit een positie van de waarnemer voor zover deze het bouwwerk (de constructie) gereflecteerd ziet op een horizontaal (water)oppervlak, waarvan de gezichtseinder, een subjectieve, geen meetbare grens vormt (...). - SIMEON TEN HOLT

    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Simeon ten Holt - Eadem sed aliter

    33:51

    Simeon ten Holt (1923-2012)

    Eadem sed aliter : for piano solo (1995)

    Kees Wieringa, piano


    Program note (Dutch): De Latijnse titel van het werk betekent: Hetzelfde maar anders. Het is opgebouwd uit een keten van secties (muzikale objecten) die, doordat ze worden herhaald, streven naar een zekere zelfstandigheid ten opzichte van het geheel. Het complement der tegendelen is (ook in dit stuk) de afspiegeling van de in de structuur van de tonaliteit verankerde tegenstelling oorzaak en gevolg, spanning-ontspanning, paren van functies die op hun beurt zijn verankerd in de grondlagen van de menselijke psyche. Een perspectief dat voor de uitvoering consequenties heeft m.b.t. de opvatting van tijd en duur en begrippen 'begin' en 'eind', 'voor' en 'na' van hun begrenzende betekenis ontdoet - SIMEON TEN HOLT

    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Simeon ten Holt - Bagatellen

    37:24

    Simeon ten Holt (1923-2012)

    20 bagatellen : voor piano (1954)

    1. I. Con moto scorrendo - 00:00
    2. II. Molto Lento - 02:48
    3. III. Allegro giocoso - 04:34
    4. IV. Semplice e un poco rubato - 05:36
    5. V. Poco vivace scherzando - 07:15
    6. VI. Poco allegro capriccioso - 09:09
    7. VII. Andantino - 09:59
    8. VIII. Bruscamente, giusto 11:29
    9. IX. Molto sostenuto 13:01
    10. X. Con leggierezza - 15:20
    11. XI. Allegretto, ma non tanto - 16:37
    12. XII. Allegro - 18:38
    13. XIII. Vivace presto - 20:44
    14. XIV. Agitato - 21:12
    15. XV. Moderato - 24:25
    16. XVI. Leggeriezza - 26:21
    17. XVII. Con Moto - 28:55
    18. XIX. Adagio molto, rubato e espressivo - 30:45
    19. XX. Molto agitato - 34:27

    Simeon ten Holt, piano

    dedicated to the father of the composer


    Program note (Dutch): Reeks van twintig of meer of minder korte stukken. Voor de eerste maal manifesteert zich de voorkeur voor de Cyclusvorm, een reeks van stukken die onderling alleen verwantschap vertonen in zoverre zij de uitdrukking zijn van hetzelfde proces, een gemeenschappelijke spanning. Muzikaaltechnisch gesproken vinden alle onderdelen hun gemeenschappelijke bron in een complex van een akkoord, waarvan de spanning zoekt naar een ontspanning zonder die te vinden. Op het verschijnsel van de greep die per definitie misgreep blijft, komen we nog terug in verband met de Cyclus aan de Waanzin. De bagatellen worden gefrustreerd door een sterk ostinatokarakter en de centrumgerichte tonale structuur is nog explicieter dan in Kompositie I. De centrale toon is Bes, die een overheersende rol speelt, maar de grondtoon is de melancholie. We beschouwen het stuk, om haar geestesgesteldheid te schetsen, als ontsprongen aan de relatiemodaliteit van fase II. Waren de klankmiddelen in Kompositie I sober en afkerig van alle uiterlijkheid, hier zijn ze expansief en romantisch. De verzonkenheid in en de neiging tot het gebed en de stilte maakt plaats voor de roes van het leven. De wereld en de eigen krachten worden ontdekt en aan elkaar gemeten. Expansie en machtsvertoon. De wereld, begerenswaard en groot, niet als het domein van de samenleving maar als de jungle waar men, tot rover opgeleid, geacht is zich een weg te banen, een carrière op te bouwen en zich te handhaven. Het subject betrekt zijn gesprekspartner op zichzelf en onderwerpt die aan zijn belangen. Het Ik, te zeer gepreoccupeerd door de struggle for life, berust in z'n insluiting als een onvermijdelijk gegeven en bekommert zich niet om een systeem dat ver over de grens van z'n geestelijke waarneming, beslist over goed en kwaad, over voorrecht en onrecht. Een renaissancistische levensfase vindt in de Bagatellen z'n uitdrukking in een stijl die we kunnen situeren tussen Chopin, Bartok en Janacek met een nog enkele reminiscentie aan het latere werk van Van Domselaer. Symbolisch gesteld maakt de wereldverzaking van Kompositie I plaats voor de zucht te delen in de uitoefening van de macht, voor de verovering van de wereld en de (materiële) bevestiging van het Ik.

    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Horizonkwartet - Incantatie IV by Simeon ten Holt

    5:28

    Incantatie IV by Simeon ten Holt
    Horizonkwartet (Marte Gerritsma, Riëtte Olthof, Gan Sun and Ruben Tekelenburg)

    Compilation of a performance on four pianos lasting for 2.5 hours

    World Minimal Music Festival 2019
    Muziekgebouw aan 't IJ, Amsterdam
    April 7th, 2019

    Movie by D-Light Films

  • Simeon ten Holt - Canto Ostinato

    2:40:44

    Simeon ten Holt (1923-2012)

    Canto Ostinato : voor toetsinstrumenten (1976-1979)

    Gerard Bouwhuis, piano
    Gene Carl, piano
    Cees van Zeeland, piano
    Arielle Vernède, piano


    Program note (Dutch): Canto Ostinato kan worden uitgevoerd in verschillende combinaties waarbij toetsinstrumenten aan de orde zijn b.v. vier piano's. Het stuk is ontsprongen aan een traditionele bron, is tonaal en maakt gebruik van functionele harmonieën. Ofschoon alle onderdelen in het verloop van het stuk een vaste plaats hebben en niet verwisselbaar zijn, hebben begin en einde als vormbegrenzing geen absolute betekenis. Oorzaak en gevolg, spanning en ontspanning, onafscheidelijke paren van functies, worden verzelfstandigd en in de voortgang door de herhaling tot staan gebracht. Akkoorden of groepen akkoorden, besloten in maten en secties, maken zich los van de melodische binding en gaan en eigen leven leiden. Een belangrijke rol speelt de tijd. De maten of secties krijgen een herhalingsteken en de uitvoerenden dienen zelf te beslissen over het aantal van de herhalingen. De herhalingsprocedure heeft tot doel een toestand te scheppen waarin het muzikale object zijn zelfstandigheid bevestigt en kan zoeken naar de gunstigste positie ten opzichte van het licht. Tijd wordt de ruimte waarin het muzikale object gaat zweven. - SIMEON TEN HOLT

    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Simeon ten Holt - Diagonaalsonate

    18:33

    Simeon ten Holt (1923-2012)

    Sonate : diagonaal, for piano solo (1959)

    1. Agitato - 00:00
    2. Allegretto scorrendo - 07:18
    3. Adagio lamentoso - 09:39
    4. Allegro vivace - 14:42

    Kees Wieringa, piano

    dedicated to Jakob van Domselaer


    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Simeon ten Holt - Canto Ostinato

    1:19:23

    Arrangement for 2 pianos by Jeroen & Sandra van Veen

    Jeroen & Sandra van Veen, pianos

    I've blacked out parts of the score; either from slides that oscillate back and forth due to repeats that necessitate returning back to a previous slide numerous times, where preceding or proceeding sections are not in focus; or due to sections that are completely ignored in this performance (for which that/those reason[s] is/are unbeknownst to me, hence the added question marks); to make following along with the score a much easier task for the viewer. Because of the ignored or drastically varied sections in this performance, piecing together the slides was not an easy task.

  • Simeon ten Holt - Soloduiveldans IV

    25:37

    Simeon ten Holt (1923-2012)

    Soloduiveldans IV : voor piano (1998)

    Jeroen van Veen, piano

    dedicated to Winter Felix Wieringa-d'Herripon


    Program note (Dutch): In dit werk komen secties voor die kunnen worden herhaald. Het blijft aan de speler om te beslissen over het aantal herhalingen, maar een korte versie wordt aanbevolen. Het stuk heeft weinig toelichting nodig en spreekt voor zichzelf. Binnen het stijlfenomeen dat de Soloduiveldansen kenmerkt onderscheidt dit stuk zich door een lichte toccata-achtige toets. - SIMEON TEN HOLT

    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Simeon ten Holt - Horizon, Muziekgebouw aan t IJ in Amsterdam

    3:17

    Het Horizonkwartet speelde het 2,5 uur durende pianowerk Horizon tijdens het World Minimal Music Festival in Amsterdam, waarbij vier vleugels verspreid stonden over de ruimte. Luisteraars konden zich binnen de ruimte bewegen en op zoek gaan naar inspirerende Horizonklanken.

  • Simeon ten Holt - Aforisme No. 2

    4:02

    Simeon ten Holt (1923-2012)

    Aforisme nr. 2 'een oude melodie' : Electronische pianocompositie (1972)

    transcribed by Jeroen van Veen

    Jeroen van Veen, piano


    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Simeon ten Holt - Méandres

    1:12:29

    Simeon ten Holt (1923-2012)

    Méandres : voor 4 pianisten (1995-1998)

    Polo de Haas, piano
    Kees Wieringa, piano
    Ellen Dijkhuizen, piano
    Fred Oldenburg, piano


    Program note (Dutch): Méandres is de vijfde in een reeks van avondvullende stukken. Met Canto ostinato, Lemniscaat, Horizon en Incantatie IV heeft Méandres gemeen dat er voor de spelers veel vrijheid is gereserveerd met betrekking tot herhalingen, dynamiek en onderlinge uitwisseling. Toch onderscheidt de muziek zich van de voorgaande door een grotere complexiteit, een grote mate van chromatiek en een meer uitgeschreven rolverdeling. Het meanderende verloop van de vorm betekent voor de spelers - gezien het in wezen altijd open- en experimentele stadium - een veeleisend avontuur. Het is de neerslag van de zoektocht in het labyrinth waar grenzen van tijd en ruimte worden ondervraagd. - SIMEON TEN HOLT

    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Soloduiveldans III

    26:01

    Provided to YouTube by The Orchard Enterprises

    Soloduiveldans III · Kees Wieringa · Simeon ten Holt

    Simeon Ten Holt Highlights

    ℗ 2014 Composers Voice

    Released on: 2016-01-01

    Auto-generated by YouTube.

  • Palimpsest - Simeon ten Holt

    51:54

    Simeon ten Holt (1923-2012): Palimpsest for string septet (1990-1992).
    Ten Holt zegt over dit werk: : Het stuk lijkt opgediept uit verschillende lagen waaruit het is samengesteld. Schriftuur over schriftuur, document over document waarvan het ene het andere bevestigt of verhult. Ik heb gekozen voor de titel Palimpsest omdat er met het stuk inderdaad sprake lijkt van een textuur waarin verschillende versies over elkaar heen geschreven zijn.

    Palimpsest wordt gespeeld door het Doelen Ensemble.

  • Soloduiveldans II by Simeon ten Holt

    1:56

    Pianist: Robert Lambermont

  • Simeon ten Holt - Lemniscaat

    2:11:05

    Simeon ten Holt (1923-2012)

    Lemniscaat : voor toetsinstrumenten (1982-1983)

    Irene Russo, piano
    Fred Oldenburg, piano
    Sandra van Veen, piano
    Jeroen van Veen, piano


    Program note (Dutch): Lemniscaat werd in 1983 voor het eerst uitgevoerd te Bergen NH, in een oude, niet meer in gebruik zijnde bioscoopzaal. Ontdaan van de stoffering en met zijn planken vloer had deze zaal veel weg van een balletstudio. Het nog aanwezige bioscoopdoek kon benut worden voor de projectie van dia's: tachtig meer of minder gestileerde beelden van het door de uitvoerenden gebruikte handschrift van de partituur. Deze reeks traag verspringende beelden werd ingezet gedurende de periodes dat de band de uitvoering overnam. De band was de registratie van voorafgaande gedeelten van het concert zelf. Behalve de componist, die de solo-episodes voor zijn rekening nam, werd de uitvoering gerealiseerd door een ensemble van vier pianisten. De live-blokken hadden een duur van drie tot vier uur. Voor de uitvoering, die dertig uur ononderbroken zou duren, was een soort dienstregeling ontworpen. De bezoeker kon, hiervan gebruik makend, bepalen welk gedeelte respectievelijk welke gedeelten werden bijgewoond.
    Ondanks het komen en gaan van het publiek heerste er een grote concentratie in de zaal. De partituur is een compromis tussen een te veel en te weinig aan voorschrift, tussen binding en vrijheid: een open scenario. De duur van het stuk is onbepaald, maar wordt gedragen door een opvatting van de tijd waarin de klok kan worden vergeten, de anti-stopwatch-timing. De tijd speelt een belangrijke rol. De partituur is samengesteld uit maten of groepen van maten die een herhalingsteken meekrijgen. Praktisch komt het erop neer dat de uitvoerenden zelf dienen te beslissen over het aantal van de herhalingen. Zoals gesteld in de toelichting bij Canto Ostinato, een eerder geschreven, aan Lemniscaat verwant stuk, heeft de herhalingsprocedure ook hier tot doel een toestand te scheppen waarin het muzikale object zijn zelfstandigheid kan bevestigen. Tijd wordt ruimte waarin het muzikale object gaat zweven. Een proces doet zich voor waarin de aandacht niet wordt gericht op de expansie, maar op de binnenkant van de klank. Ook door de componist niet vermoede en niet voor te schrijven mogelijkheden van het muzikale gebeuren dienen zich aan. Explicitering van de impliciete potenties. Dit proces wordt niet geboren uit specifiek muzikaal-technische voorschriften (bijvoorbeeld faseverschuiving, kleine veranderingen in de muzikale figuratie, etc,) - ofschoon deze kunnen optreden - maar ook door de momentele dispositie (saamhorigheid) van het ensemble. Onnodig te zeggen dat deze saamhorigheid de vrucht is van een voorafgaande inlevingsperiode. Zo gesteld zal het stuk, door hetzelfde ensemble gespeeld, 's morgens anders verschijnen dan 's avonds. Dit is een van de aspecten waardoor dit 'werk in uitvoering' zich onderscheidt. - SIMEON TEN HOLT

    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Simeon ten Holt - Incantatie IV

    1:56:58

    Simeon ten Holt (1923-2012)

    Incantatie IV : for keyboard instruments (1987-1990)

    Irene Russo, piano
    Fred Oldenburg, piano
    Sandra van Veen, piano
    Jeroen van Veen, piano


    Program note (Dutch): De muzikale procedure kan vergeleken worden met de verschillende drukgangen bij het tot stand komen van een prent in een drukkerij. Worden hier de verschillende kleurgangen de één na de ander opgebracht, zo worden in deze partituur de partijen (de lagen) de één na de ander toegevoegd, cq weggelaten. Alle lagen zijn even belangrijk en voeren afwisselend de status van hoofdzaak en bijzaak, van domineren en wijken, van hoofdkleur en bijkleur, van solist en zwijgen (...). Het moet duidelijk zijn dat we met Incantatie IV te doen hebben met een partituur, die zich afspeelt in het gebied tussen genoteerde en geïmproviseerde muziek. En dat de speler niet alleen iets te doen heeft als er noten staan of zwijgt als er niets is voorgeschreven. De meerduidigheid van de notatie (bijv. ritmisch) wijst erop dat iedere afzonderlijke laag ontvankelijk is voor bijv. doublering of meervoudig unisono, hetzij als hoofd-, hetzij als bijkleuring. - SIMEON TEN HOLT

    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

  • Simeon ten Holt - Horizon

    1:48:31

    Simeon ten Holt (1923-2012)

    Horizon : voor toetsinstrumenten (1983-1985)

    Het Rondane Kwartet


    Program note (Dutch): De muziek van Horizon kan worden opgevat als een partituur die, samengesteld uit vier partijen, het beste door bijvoorbeeld vier pianisten kan worden uitgevoerd. Het feit dat er tot op heden steeds groepen van vier (of vijf) pianisten waren die zich, behalve voor Canto ostinato en Lemniscaat, ook voor Horizon hebben ingezet, versterkt die indruk. (Daar is op zichzelf niets tegen). Maar wij willen er hier nogmaals op wijzen dat er, desondanks, ook met Horizon sprake is van een muziek die naar haar aard en structuur bepaalde aspecten ter keuze laat, waaronder bijvoorbeeld het aantal spelers en het soort toetsinstrumenten. In plaats van over partijen spreken wij liever over 'lagen', over texturen. Iedere laag heeft voor zich een consequente 'eigen', dubbelzinnige of meerduidige karakteristiek, die binnenshuis de opvatting-zó niet meer bestaansrecht geeft dan de opvatting-zús. Een diversiteit die haar uitdrukking kan vinden in bijvoorbeeld het delen van eenzelfde laag door meerdere spelers. Ook als het stuk door vier pianisten wordt uitgevoerd en men zich aan de gesuggereerde rolverdeling en voorgeschreven noten houdt, blijft er een belangrijke marge aan 'partijonafhankelijke' speelruimte. Het is onder andere de herhalingsprocedure die maakt dat het nemen van zelfstandige beslissingen door de uitvoerenden onvermijdelijk is. Ook Horizon noemen wij 'werk in uitvoering', een open scenario waarin taken onder de spelers naar believen (regie?) kunnen worden verdeeld en afgewisseld. Men dient te beslissen over a) het aantal herhalingen, - b) het combineren van lagen, de al of niet geleidelijke opbouw van elementen (cumulatie), - c) het al of niet onderbreken of hervatten van deelname, - d) het reliëf geven aan functie en - zij het binnen de gegeven stijl - het 'buiten het boekje' gaan, - e) de dynamiek; men zal slechts een enkele keer in de partituur dynamische aanwijzingen aantreffen. Aanbevolen wordt een vorm van zogenaamde registerdynamiek (althans daar waar geen
    aanwijzingen staan). Gewaarschuwd moet worden voor 'te luid'. Als men elkaar niet meer kan horen, dan is er muzikaal en sociaal iets niet in de haak. Horizon speelt zich af in het gebied dat ligt tussen de zogenaamde geïmproviseerde en genoteerde muziek. Wij hebben weliswaar te doen met een partituur en voorgeschreven noten, maar dat betekent niet dat de speler alleen iets te doen heeft als er noten staan, of zwijgt als er niets voorgeschreven is. Het zal nogal eens voorkomen, dat er gezwegen wordt als er noten staan, dat er gespeeld moet worden als er geen noten staan. - SIMEON TEN HOLT

    Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890–1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961–1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966–1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969–1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
    Canto ostinato for one or more keyboard instruments (1976–1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.

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

    2:45:19

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

  • Horizon by Simeon ten Holt, I-III, live by Piano Ensemble on four pianos

    1:18:35

    Horzion for four pianos played by Piano Ensemble, live in Ruinekerk Bergen


  • Ten Holt: Canto Ostinato - Complete - Live HD

    1:39:06

    Eindhoven, 2 april 2011.

    Uitvoering van Simeon ten Holts Canto Ostinato door vier pianisten: Elizabeth Bergmann, Marcel Bergmann, Sandra van Veen en Jeroen van Veen.

    Tijdens het concert worden luchtfoto's van de Nederlandse fotograaf Karel Tomeï geprojecteerd.

  • Simeon ten Holt - Canto Ostinato for two pianos and two marimbas

    1:11:48

    Sandra & Jeroen van Veen ............................

    I didn't own the music and pictures ,just information & education purpose only , the copyright belong to it's owner and Insight Unlimited.....

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