composer
Rosy Wertheim was born on February 19, 1888 in Amsterdam and she died on May 27, 1949 in Laren.
After receiving a piano certificate from the Dutch Musicians' Society, she studied ...
related works
D'ou viens-tu bergère : Pour choeur (ou Deux voix de femmes) et solo de Soprano / Rosy Wertheim
Genre:
Vocal music
Subgenre:
Female choir and piano
Instruments:
VK pf
My kingdom : five songs for middle voice and piano, opus 47a / words by R.L. Stevenson, Jan Masséus
Genre:
Vocal music
Subgenre:
Voice and piano
Instruments:
medium pf
Zes Slauerhoff-liederen : voor middenstem en piano, 1961-'67 / Wim Franken
Genre:
Vocal music
Subgenre:
Voice and piano
Instruments:
medium pf
Hitte : voor bariton en piano / Karel Goeyvaerts
Genre:
Vocal music
Subgenre:
Voice and piano
Instruments:
bar pf
composition
Vier Lieder : for voice and piano / Rosy Wertheim; words by Anna Ritter and Schüller
Contains:
Er rausch und rauscht (c. 2’30”)
De Insel der Vergessenheit (c. 3’)
Abendgebet (c. 1’45”)
Es fiel ein Reif (c. 1’30”)
Description:
The series 'Forbidden Music Regained' proudly presents works by composers who were persecuted during the Second World War. Performances of these works were forbidden during the war. Many composers were imprisoned, several did not survive and others went into hiding.
After the war a new generation took over. The pre-war composers were soon forgotten and their compositions remained hidden in closets and archives or fell otherwise into oblivion. In recent decades numerous works have been rediscovered through the efforts of the Leo Smit Foundation. Some scores were found in attics, others in a garden shed and a pile of music was found by young children next to a garbage can. These compositions are of a high quality and deserve to be performed again. The diversity of styles represents the entire spectrum of the first half of the Twentieth century: romanticism, impressionism, modernism, neoclassicism, jazz, and so forth. This project aims to encourage musicians, young and old, from across the globe to perform these compositions, and for concert audiences to (once again) become acquainted with this ‘unheard’ music.