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Hendrik Andriessen - Orchestral Works (2006)

Posted By: Su_Lihua
Hendrik Andriessen - Orchestral Works (2006)

Hendrik Andriessen - Orchestral Works (2006)
EAC Rip | FLAC, IMG+CUE, LOG | 2 CDs | Complete Scans | 569 MB
Classical/20th Century | Label: EtCetera | Cat.: KTC 1307 | RS/MU


Adapted from Musicweb
In much the same way as the Koppel family in Denmark, the Andriessen family is steeped in the arts and in music. Hendrik’s older brother Willem was a pianist, an organist and a composer as well. Louis (b.1939) and Juriaan (1925–1997) are composers. Cecilia is a pianist and piano teacher. Heleen is apparently a pianist too – at least in her youth, and Nico is an architect. As a composer, Hendrik Andriessen favoured classical and even pre-classical forms, as the individual movements of some of his symphonies clearly show; but he was a staunch admirer of Debussy’s music and, late in life, took-up twelve-tone writing without ever adhering strictly to it.

Andriessen’s first major orchestral work was his Symphony No.1 completed in 1930, dedicated to and first performed by van Beinum conducting the Haarlemse Orkest Vereniging. It is a compact piece in four movements, of which the first is by far the most developed. The first movement opens with a slow, imposing introduction leading into an Allegro moderato section. The other movements (Andante tranquillo, Allegretto grazioso and Allegro agitato) are all fairly short, and make for a progressive build-up in intensity till the final peroration.

The Symphony No.2, completed in 1937, is in three movements roughly recalling those of the Baroque suite: Fantasia, Pavane and Rondo. In this work, too, Andriessen is drawing nearer to Pijper, whom he admired but never tried to emulate. However, it is a tougher work than its predecessor, and its idiom more advanced and somewhat more austere, although the inner logic at work makes it more readily accessible than, say, any symphony by Vermeulen.

Two major works were composed during the war years, but are completely different in character. The Variations on a theme of Couperin for flute, harp and string orchestra are not dissimilar to the earlier Kuhnau Variations. It is a
lovely work that strongly contrasts with the Symphony No.3 completed in 1946, an imposing piece in which one can certainly hear the composer’s reaction to the war years. This is a major work and one that deserves a permanent place in the repertoire.

The Ricercare, composed a few years later, is again in full contrast with the symphony. This is a sunny, uncomplicated work in which Andriessen’s contrapuntal mastery is effortlessly displayed. This colourful, superbly scored work should be a popular concert opener and again deserves wider exposure.

As mentioned earlier in this review, Andriessen, as many of his contemporaries, toyed with twelve-tone writing, although he never strictly adhered to dodecaphonic principles. The twelve-tone rows that he used in his Symphonic Study and his Fourth Symphony are viewed as themes rather than anything else. Symphonic Study, which the composer described as “the result of my laboratory work” is based on a single tone-row, and each of the four concise movements is based on different versions of the row. The end result is far from what Schönberg or Webern would have achieved. What comes through is Andriessen’s contrapuntal mastery - a trademark of his - and the remarkable invention displayed in this work, seen by some as a try-out for Andriessen’s final symphony.

The Symphony No. 4, completed in 1954, is also based on a tone-row heard at the outset, but which the composer
uses more as a cantus firmus. In many respects, the Fourth Symphony is a major, substantial work which Louis Andriessen considers as “the most painfully moving” of his father’s works. The Fourth Symphony clearly demonstrates that Andriessen was never happy to repeat himself and always trying to find some new way of expressing himself with complete honesty. Again, the comparison with Vaughan Williams might be made; for he, too, was not afraid of exploring new harmonic worlds, even in his late years. The music of Andriessen’s Fourth Symphony is strongly uncompromising, while retaining its expressive strength. I do not doubt that the Fourth Symphony is the peak of his symphonic output, and Jean Fournet’s splendid reading, recorded in 1982, does this mighty piece full justice.

This beautiful set is wholeheartedly recommended to all those who love symphonic music from the first half of the 20th century, have a liking for French music of the inter-war years and who admire, say, Vaughan Williams’ music. Not to be missed. - Hubert Culot

Tracks:
CD 1

01. Variations and Fugue on a Theme of Johann Kuhnau for String Orchestra
Symfonie no 3
02. I. Ouverture
03. II. Sonata
04. III. Sarabande
05. IV. Fuga
06. Variations on a Theme of Couperin for Solo Flute, String Orchestra and Harp
Symfonie no 1
07. I. Lento allegro moderato
08. II. Andante transuillo
09. III. Allegretto grazioso
10. IV. Allegro agitation
CD 2
01. Ricercare
Symfonie no 2
02. I. Fantasia
03. II. Pavane
04. III. Rondo
Symphonische etude
05. I. Quasi adagio
06. II. Allegro con spirito
07. III. Adagio
08. IV. Allegro vivace
Symfonie no 4
09. I. Molto grave eenergico
10. II. Andante sostenuto
11. III. Finale

Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 10. May 2011, 16:06

Netherlands Radio Philharmonic orchestra / Hendrik Andriessen Orchestral works CD 1

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Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 10. May 2011, 16:19

Netherlands Radio Philharmonic orchestra / Hendrik Andriessen Orchestral works CD 2

Used drive : TSSTcorpCD/DVDW SH-S182M Adapter: 3 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : No
Make use of C2 pointers : Yes

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Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : No
Used interface : Native Win32 interface for Win NT & 2000

Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo


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