composer
Bertus van Lier was born in Utrecht on September 10, 1906. He died on February 14, 1972.
He studied the violoncello with Max Orobio da Castro at the Amsterdam Conservatory. Later ...
related works
Forbidden Music Regained : Volume 1
Genre:
Unknown
Diaphonie : for orchestra / Karel Goeyvaerts; edited by Max Erwin
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
2fl/picc 3ob 5cl 2fg 3h tpt 5trb-ten tb hp pf cemb/pf 24vn 12db
Behind the Death : for string quartet and orchestra / Wassim Ibrahim
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
3fl 3ob 3cl/cl-b 3fg/cfg 2h 3tpt 2trb trb-b tb 4perc pf 2hp str
Symfonische Etude : orkest, 1952 / Hendrik Andriessen
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
pic 2fl ob ob(eh) 2cl 2fg 4h 3trp 3trb tb timp perc hp str
composition
Divertimento facile : voor orkest, gecomponeerd in het jaar 1957 / door Bertus van Lier
Contains:
Introduzione recitando I-Tempo di scherzo
Introduzione recitando II-Allegretto
Description:
Program note (English): The commission from the muicipality of Amsterdam for 'a work for orchestra with a maximum for double woodwind, 2 French horns, 2 trumpets and 2 members of the percussion section' to last 'from 10 to 20 minutes' aroused in me the need to write an entertaining work not having an emphatically "symphonic" character, which would at the same time be received without special effort, in other words easily, by the public. 'Facile' consequently does not mean that the work is easy for the performers, since at certain points it is not. At first hearing, the work appears to have two movements: 1. Introduction a, Scherzo-trio-adagio-trio-scherzo and 2. Introduction b, Rondo (Finale) - but the two slow introductions (a + b) nevertheless imperceptibly carry some weight - almost the weight of an 'absent First Movement', while the adagio fragment, in the middle of the Scherzo, evokes associations of a 'slow movement' without there nevertheless being a more symphonic development thereof. There
has been an effort in ths Divertimento not to delve so 'symphonically' into any of the divertissement should be violated. Towards the end, the principal material in the game forms a contrapuntal whole from which there afterwards nevertheless appears a connexion with previously contrasting elements. - BERTUS VAN LIER