composer
Belinfante was born in the Amsterdam neighborhood Watergraafsmeer on March 6, 1893, the third child in a family of ten. From his father Aron, a diamond worker, and his uncle ...
related works
Pianokwartet : voor 2 violen, cello en piano / Daniel Belinfante
Genre:
Chamber music
Subgenre:
Piano Quartet (piano, violin, viola, cello)
Instruments:
2vn vc pf
Episodes in Chiaroscuro : for flute, string trio and harp / Benjamin de Murashkin
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players)
Instruments:
fl-a(fl) vn vla vc hp
Sonatine : voor hobo (viool/clarinet), viool, altviool, cello, 1961 / Hans Osieck
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players); String Quartet (2 violins, viola, cello)
Instruments:
ob/cl/vl vl vla vc
The Ultimate Workout : Version for baritone saxophone, piano and double bass / Chiel Meijering
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players)
Instruments:
sax-b pf db
composition
Trio : voor fluit, hobo en fagot / Daniël Belinfante
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.