Andriessen, Hendrik

Hendrik Andriessen was raised in an artistic environment. Of his six children, Juriaan, Caecilia, and Louis also became composers. As an organist and composer, he gave attention to both sacred ...

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L' indifférent : pour quatuor à cordes / Hendrik Andriessen

Genre: Chamber music
Subgenre: String Quartet (2 violins, viola, cello)
Scoring: 2vl vla vc

Ahnung des Endes : voor koor en orkest, 1985 / Chiel Meijering

Genre: Orchestra
Subgenre: Orchestra; Viola and Orchestra; Mixed choir and orchestra
Scoring: I-IV-VI: 3333 8431 4perc 2hp pf(cel) str II: 3333 8431 4perc 2hp pf(cel) str vla-solo III-V: GK4 3333 8431 4perc 2hp pf(cel) str

Suite dansante : Amsterdam mars-mai 1956 / Max Vredenburg

Genre: Orchestra
Subgenre: Orchestra
Scoring: 2111 1110 perc pf4h str(vl vc cb)

Overture : for orchestra / Rosy Wertheim

Genre: Orchestra
Subgenre: Orchestra
Scoring: 2fl(picc) 2ob 2cl 2fg 4h 3tpt 3trb tb timp perc hp str



Symfonie Nº 4 : 1954 / Hendrik Andriessen

Publisher: Amsterdam: Donemus, cop. 1954
Publisher's number: 03391
Genre: Orchestra
Subgenre: Orchestra
Scoring: 3222 4331 timp perc hp str
Remarks: Voor orkest. - In opdracht van de Johan Wagenaarstichting. - T.g.v. het 50-jarig bestaan van het Residentie Orkest
Duration: 25'00"
Year of composition: 1954
Status: fully digitized (real-time delivery)

1. Molto grave e energico
Andante sostenuto
Program note (English): [Première: 8 december 1954 - Den Haag - Residentie Orkest, Willem van Otterloo, conducting] - The symphony has a cyclical structure. Three distinguished movements are controlled by the main theme, exposed by the strings at the beginning of the work. Although this theme undergoes much rhythmic and dynamic change, it remains intact as a melody; in a certain way it is the cantus firmus of the symphony. That this theme consists of twelve tones does not mean that it has been written in the so-called 12-tone system; this music is based on very other foundations. From the tonal and harmonious possibilities of the main theme the extensive development materializes from the first movement. Under the stormy clouds of an introduction the expressions of later melodies can be recognised. The development actually starts off with the allegro. The second movement is divided between two slow movements by a contrapuntal capriccio, which begins with the main theme in the bassoon. At the beginning of the third movement, the finale, several intervals from the main theme seem to break the fixed line of the melody. It becomes clear however from the development and the conclusion that the theme, in spite of the lighter temperament in this movement, remains secure between the released forces. - HENDRIK ANDRIESSEN

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