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In the spotlight: Dutch chamber music
Three Dutch chamber music highlights
By Leo Samama | 9 oktober 2010 | 0:15
Translation: Hilary Staples
Programming Dutch music is the topic of an introduction by Leo Samama at Classical Music Day 2010. He discusses how to choose from the fascinating, but to many fairly unfamiliar repertory, whereby he focuses on creating possible thematic threads and linking music to current affairs. Below he discusses three Dutch chamber music highlights.
At the risk of overlooking many beautiful unknown Dutch works, there are three masterpieces I always want to draw attention to: the Octet (1952) by Henk Badings (1907-1987), the Flute Sonata (1979) by Rudolf Escher (1912-1980) and the Piano Trio (1984) by Tristan Keuris (1946-1996).
None of the three works are revolutionary in a technical sense. However, each of the three is significant, simply because it is beautiful music that stays in your mind long after hearing it. In my case from the very day I heard each of these compositions for the first time: Badings when I was a teenager, on a record by the Vienna Philharmonic Octet, Escher and Keuris right after they were written, by the musicians to whom the works were dedicated, i.e. the duo Rien de Reede (flute) and Theo Bles (piano), and the Mendelssohn Trio.
Henk Badings: Octet (1952)
The Octet by Henk Badings fits in the tradition of romantic expressive chamber music works. Its combination of instruments is a direct reference to the Octet by Schubert. The concise introduction at the beginning of the first part (the contrast between a lot of energy, immediately followed by some lamenting) is typically Badings, a first signature.
For the musicians this music is familiar stuff. Indeed, the work does sound behind the times, as if it dates from before the Second World War rather than after … But it is so well written! Badings makes a lot of use of octatonic scales (in his Octet: G-G-sharp-A-sharp-B-C-sharp-D-E-F). Thus, he juxtaposes minor and major and evokes a somewhat ambiguous and at times even uncomfortable atmosphere. This is his second signature.
Rudolf Escher: Flute sonata (1979)
The Flute Sonata, which Escher wrote in 1979 not long before his death, is an impressive piece of work. A great mind in distress expresses itself. Two dramatic movements have been designed around a delightful flute solo. The material is varied incessantly; not a single measure returns unchanged. As a listener you are completely captivated by this music. The real climax, or I should rather say a total breakdown, only comes in the last measures of the finale.
The way Escher employs the registers and timbres of the piano and the flute is extraordinary. Of course the flute frequently plays in high registers, like we are used to. But Escher also uses the dramatic nature and tension of the lowest register in particular, so the flute nearly appears to drown in the undulating piano part, yet little by little it surfaces again.
Tristan Keuris: Piano Trio (1984)
It was not without reason that Escher considered the much younger Tristan Keuris a kindred spirit. In his compositions Keuris also preferred to maintain a clearly perceivable tonal gravity. And Keuris is also a lyricist, albeit a different type than Escher. Escher is the man of long melodies, however complex and artificial; Keuris constructs chains of motives, groups of intervals, harmonies. Both composers were masters of constant variation, with at times labyrinthian results.
Keuris was also fond of writing repeated impetuses, like the irregular jumping on a diving board, which can only result in a plunge after many repetitions, that is to say ever varied repetitions. In addition, he liked hard edits in his material. He switches fast and nimbly. In this he is certainly not a romanticist like Escher.
The Piano Trio is based on a single collection of tones that is revealed to the listener step by step. This collection is every time treated in a different way: sometimes scattered over the parts, sometimes straightforward in brilliant scale figures, sometimes in broad harmonic colours, sometimes capriciously and with ever changing timbres. The predominantly static, but at times unexpectedly lively effect of consonants and dissonants directly emanates from the collection of tones.
Thus, Badings, Escher and Keuris have each developed their individual personal language, while their compositions belong unmistakably to the 20th century, yet at the same time have a meaning, value and musical expression that surpasses their time. And that is why these works deserve to be included in many concert programmes.
Leo Samama (*1951) studied musicology at the University of Utrecht and composition with Rudolf Escher. He gave lessons at the Conservatories of Utrecht and The Hague and was music director at The Hague Philharmonic Orchestra and director of the Netherlands Chamber Choir. Samama has written many compositions and several books on music. More at www.leosamama.nl.
In the spotlight
In the spotlight. Current musical events in and from the Netherlands, placed in the spotlight by renowned Dutch music journalists.
