Jurriaan Andriessen (1925-1996)
Berkshire Symphonies (
Symphony No. 1) (1949)
1.
Poco adagio -
Allegro giusto - 00:00
2.
In Memoriam Of
Alban Berg (6
Variations And
Coda) - 07:42
3. Vivace -
Trio - 17:06
4. Allegro ritmico alla breve - 21:57
Orchestra:
Radio Symfonieorkest
Conductor:
Alexander Vedernikov
dedicated to
Serge Koussevitzky
Jurriaan Andriessen was a composer and son of
Hendrik Andriessen. He was taught composition at the
Utrecht Conservatory by his father and he later studied instrumentation and conducting with
Willem van Otterloo and the piano with
André Jurres and
Gerard Hengeveld. After his final examinations in
1947, he spent several months in
Paris with the particular aim of studying film music. There he also took lessons with
Messiaen. On returning to the
Netherlands, he was commissioned to write the incidental music for the open-air play Het wonderlijke uur ('
The Miraculous Hour'), performed in celebration of the 50th anniverary of
Queen Wilhelmina's accession; this was his first score for the stage. From 1949 to 1951 he was in the
USA on a
Rockefeller Foundation Fellowship, and it was there that he wrote the
Tanglewood Overture for Koussevitzky and, to a commission from the
Dutch government, the Berkshire Symphonies (1949), a work to which Balanchine and
Robbins created the ballet
Jones Beach, which was given in
New York and in many
European cities. Andriessen made several visits to
Italy and
Germany during the period 1951--1953, and at this time he composed two ballet scores: Das Goldfischglas (
1952) for the
Deutsche Oper am Rhein and De canapé (
1953) for the
Netherlands Opera.
In 1954 he was appointed resident composer to the Haagse Comedie; one of the first scores resulting from this appointment was that for
Mourning becomes
Electra, from which Andriessen made a widely performed orchestral suite. Much successful incidental music followed, and further derived concert pieces, including Les bransles érotiques from the score for
Rosencrantz and Guildenstern are Dead. In his music for
The Tempest (1953) he used electronics for the first time. Andriessen also composed a quantity of music for radio, television and film in addition to his copious output of orchestral and chamber works and pieces for amateurs. He was highly regarded as a composer of occasional music: his commissions include music for the wedding of
Princess Beatrix (Entrata
Festiva, 1966), the silver jubilee of
Queen Juliana (Een
Prince van Orangien,
1973) and the coronation of
Queen Beatrix (Entrata della regina,
1980). Andriessen has also conducted his own compositions and worked as a television director.
His music exhibits sound professional skill in a style that draws on diverse recently developed techniques without being bound to any specific system. The same attitude is to be found in the work of a number of
Dutch composers in the period following
World War II, responding to a great hunger for art and relaxation. Influences include
American film and theatre music,
Copland's ballet scores, Stravinskian neo-classicism, and folk music, both from the regions of the Netherlands and from distant cultures such as
Peru. In the second part of the Berkshire Symphonies, Andriessen makes use of the 12-note row from the second part of
Berg's
Lyric Suite, though the series is used melodically and not elaborated dodecaphonically. Such an eclectic mix was outstandingly well suited to music as dramatic accompaniment, but his concert works sometimes lack a powerful, personal stamp.
- published: 30 Sep 2012
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