Louis Andriessen - The nine symphonies of Beethoven for orchestra and ice cream bell
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- เผยแพร่เมื่อ 23 ส.ค. 2024
- Louis Andriessen (1939)
De negen symfonieën van Beethoven voor promenade-orkest en ijscobel (1970)
Louis Andriessen is a Dutch composer, son of Hendrik Andriessen. After a few youthful works influenced by neo-classicism and serialism in the manner of Boulez he moved steadily away from the postwar European avant garde and towards American minimalism, jazz and Stravinsky. Out of these elements he has developed a musical language marked by extremes of ritual and masquerade, of monumentality and intimacy, of formal rigour and intuitive empiricism. The epitome of the Hague School, he is regarded as the most influential Dutch composer of his generation.
Andriessen was born the youngest son of a musical family. His father and his elder brother Jurriaan, who passed on to him his musical experiences of Stravinskian neo-classicism and jazz, were his earliest mentors. Between 1957 and 1962 he studied composition at the Royal Conservatory in The Hague with Van Baaren. After receiving the composition prize there, he continued his studies with Berio in Berlin and Milan (1962--1965).
Back in the Netherlands he played an active role in the increasing politicization of the arts put into practice during the Holland Festival in 1969 with the collective work Reconstructie, a music-theatre morality based on the character of Che Guevara; the composers involved were Schat, van Vlijmen, Reinbert de Leeuw and Misha Mengelberg, all former students of Van Baaren. Later the same year Andriessen was involved in the Notenkrakersactie, the disruption of a concert by the Concertgebouw Orchestra, whose artistic policy the protesters regarded as reactionary. This controversial act has since come to be seen as a turning-point in postwar Dutch musical life. For Andriessen it led to a permanent abandonment of the medium of the symphony orchestra. Convinced that musical renewal cannot be separated from the renewal of performance practice, he set up in 1972 De Volharding ('Perseverance') to perform his composition of the same name, and similarly in 1977, Hoketus, the result of a project at the Royal Conservatory; both ensembles have gone on to stimulate extensive new repertories. Andriessen began to teach composition and instrumentation at the Royal Conservatory in 1973, and in the mid-1980s started to be in great demand as a guest lecturer, particularly in the USA.
The 9 Symphonies of Beethoven is not so much a comment on Beethoven himself as it is on the institution of the symphony. The twentieth century saw the breakdown of the large orchestra as the favoured compositional tool. Composers tended to use smaller ensembles with unconventional instrumental combinations in order to avoid any association with the bloated German Romanticism of the late 19th century.
The piece is essentially a highlights reel of all nine symphonies with brief interpolations of other instantly recognisable music. In many ways, the 9 Symphonies was conceived in the spirit of the postmodern mashup that has become popular in recent years. The question is, does removing the context and presenting only the most popular bits make the piece more or less poignant? Is the experience enhanced by listening to 15 minutes of buildup or is it better just to listen to the best bits on their own?
The symphonies are presented in order, generally speaking, with Für Elise, the Moonlight Sonata, and Rossini's Barber of Seville Overture making cameo appearances. Andriessen uses stylistic as well as melodic quotation and incorporates Europop, boogie-woogie and lounge music. The final joke is the interminable number of V-I cadences at the end of the piece. In this case, the jab is directed at Beethoven, who had an affinity for signalling the end of his symphonies more emphatically than was perhaps strictly necessary. The conclusion of his fifth symphony is a particularly fitting example.
9 Symphonies is an early work of Andriessen's and was the only time he wrote anything for orchestra. His 1976 work De Staat (The Republic) brought him into the international spotlight and remains his most famous work.
00:01 : Symphony 1 (mvt 1)
00:45 : ???
00:57 : Symphony 2 (mvt 3)
01:26 : Symphony 3 (mvt 1)
01:39 : ???
01:58 : Symphony 3 (mvt 1)
02:06 : Symphony 1 (mvt 1)
02:19 : Symphony 5 (mvt 1)
02:23 : Symphony 4 (mvt 1)
03:17 : Symphony 5 (mvt 1) with some changes
03:27 : Internationale
03:33 : Netherland National Anthem "Wilhelmus"
03:39 : ???
03:53 : Symphony 6 (mvt 1)
04:00 : ???
04:14 : Symphony 6 (mvt 5)
04:30 : ???
04:43 : Symphony 7 (mvt 4)
05:35 : Symphony 7 (mvt 2)
05:38 : Fur Elise (Bagatelle WoO 59) at the same time and modulated at 05:47
05:49 : Piano sonata 8 (mvt 1) orchestrated
06:04 : Piano sonata 14 (mvt 1) with low part orchestrated
06:14 : ???
06:29 : Symphony 8 (mvt 1)
07:10 : Symphony 8 (mvt 2)
07:20 : Some kind of Barber of Seville Overture (Rossini)
07:32 : Symphony 9 (mvt 4)
07:45 : Symphony 9 (mvt 4) again but kind of "fanfare" and modified
08:35 : Symphony 6 (mvt 2)
08:44 : Symphony 9 (mvt 4) fanfare again and coda
Correct me if i'm wrong or if you know the "???" parts missing
According to Stephen Loy's research on the piece, some of the ??? interludes are composed by Andriessen in the style of various popular genres. This includes the one at 4:30 -- I originally thought it was from Queen's "We Are the Champions" but that song wasn't released until seven years later so the resemblance is coincidental.
@@shengjunwang6480 corrected
@@Myriasth No, that one is correct. That is the Dutch national anthem at 3:33. I was just mentioning that some of the ??? passages can't be filled in because not all of them are quotations.
RIP great sir, this piece has brought much laughter to many!
From one Louis to another, in true Nutcracker spirit. RIP.
Several weeks into the Corona Virus quarantine, I enjoyed listening to this and understand the protest it represents.
what protest?
@@nikolausgerszewski2086 the protests about Corona virus lockdowns
@@RhondaBranneky what does this have to do with Covid and lockdown?
Hi Nikolaus, can you contact me to discuss this further in private?
@@nikolausgerszewski2086 please contact me privately to discourse on this subject. I don’t wish to share in the public comments.
This is surely the most 'Dutch' sounding piece ever written
I really appreciate your description of the piece and the content is gives, although I'd note we have the Pathetique Sonata between (the very artfully interpolated!) Für Elise and Moonlight.
Wat een melig stuk.
Echt verschrikkelijk hahaha, ik snap dat hij beschaamd was dit te hebben geschreven
Brilliant!
Fantastic!
That's the "Internationale"
Immediately followed by the Wilhelmus.
4:30 ???????
what orchestra is performing this?
He seems to be a great fan of the 4th. I am too! Too bad the drunk men perform the 9th symphony recitativo without the proper appoggiatura.
very funny!
3:26 whose theme is that???
On the first day of christmas......
The Internationale.
And right after The Internationale it's quoted Het Wilhelmus (the Dutch National Anthem).
@@johnappleseed8369 I think there's a different white-bearded man in question here...
ㅋㅋㅋㅋㅋㅋㅋ
Did I just hear some Tchaikovsky?
Tout le monde n'a pas le génie de Luciano Berio... La vulgarité de ce méli-mélo a quelque chose d'indécent. Not everyone has the genius of Luciano Berio... There is something indecent about the vulgarity of this mishmash.
I'm guessing that's the point!
Wie de meester belachelijk maakte en de pretentie had dat hij het zelf beter kon...
absolutely disgusting.
Glorious isn’t it
Horrible😡