Simeon ten Holt - Incantatie IV
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- Опубліковано 8 вер 2024
- Simeon ten Holt (1923-2012)
Incantatie IV : for keyboard instruments (1987-1990)
Irene Russo, piano
Fred Oldenburg, piano
Sandra van Veen, piano
Jeroen van Veen, piano
Program note (Dutch): De muzikale procedure kan vergeleken worden met de verschillende drukgangen bij het tot stand komen van een prent in een drukkerij. Worden hier de verschillende kleurgangen de één na de ander opgebracht, zo worden in deze partituur de partijen (de lagen) de één na de ander toegevoegd, cq weggelaten. Alle lagen zijn even belangrijk en voeren afwisselend de status van hoofdzaak en bijzaak, van domineren en wijken, van hoofdkleur en bijkleur, van solist en zwijgen (...). Het moet duidelijk zijn dat we met Incantatie IV te doen hebben met een partituur, die zich afspeelt in het gebied tussen genoteerde en geïmproviseerde muziek. En dat de speler niet alleen iets te doen heeft als er noten staan of zwijgt als er niets is voorgeschreven. De meerduidigheid van de notatie (bijv. ritmisch) wijst erop dat iedere afzonderlijke laag ontvankelijk is voor bijv. doublering of meervoudig unisono, hetzij als hoofd-, hetzij als bijkleuring. - SIMEON TEN HOLT
Simeon ten Holt was a Dutch composer and pianist. His first piano works reveal the influence of his piano and theory teacher the composer Jakob van Domselaer (1890-1960), who had attempted to translate into piano music the ideas of the painter Piet Mondriaan. In 1949 ten Holt went to Paris and studied with Honegger and Milhaud at the Ecole Normale. He returned to Bergen in 1954 and embarked on his own journey as a composer with his 20 Bagatelles for piano. In the 1950s he sought to escape tonality with the simultaneous use of complementary keys in a tritonal relationship, a technique culminating in the Diagonaalmuziek for strings (1958). The Cycle to Madness for piano (1961-1962) forms the transition to a serialistic period, the results of which can be heard in ..A/.TA-LON (1966-1968), a music theatre piece for mezzosoprano and 36 instrumentalists, where both the notes and the self-invented syllables are conceived as if produced by a computer. He worked at the Institute for Sonology at the University of Utrecht (1969-1975) focusing on electronic sound sources, producing several pieces of electronic music. Although still an advocate of structuralism and atonality in the 1970s, Holt also did the groundwork for the return of tonality in his music.
Canto ostinato for one or more keyboard instruments (1976-1979) is his major breakthrough as a composer. It consists of repetitive music in which the performers follow their own route choosing the so-called ‘drift parts’ they prefer. The musicians are given the task of determining the total length and the number of repetitions in any performance. Ever since the première of Canto ostinato ten Holt has continued to create this kind of living musical organism, each performance of which produces new sound combinations.
You know I have a greater appreciation for his music than ever before. Once you start to listen in to the parts in the background, and the contrast of parts being played strikingly and soft at the same time, sounding electronic at times. He was ahead of his time.
Incantatie IV has been the most challenging of ten Holt’s post 1976 works for me to give a listen. The first 40 or 50 minutes seemed drab with thematic material unable to draw me in. But, I stuck with it out of respect for ten Holt and the Piano Ensemble. Surprizingly, after the first hour I started hearing everything that had come before in a new light. I couldn’t stop listening until the end as structural development kept unfolding like a strange and beautiful flower. I look forward to my next Incantatie IV listen.
Best music I've heard to date. I get a greater high off this than Canto Ostinato.
This music is so stunning, I can't stop listening it. Then hours after when I started to listen this, I notice that I had been in the same place but still somewhere so far. It is some kind of journey I think.
Maybe you are reaching Bumi Parahyangan (Land of The Gods). Wanna try some Sundanese Degung Music?
I would never have found this without UA-cam. This is beautiful.
Incantatie IV, Canto Ostinato and Lemniscaat together make the perfect trilogy. This is so beautiful.
dont forget horizon
and Méandres
And "Horizon". Great piece too, IMAO.
This is too good. I need to hear it live, ideally in some setting that helps the clarity of the tones, Elbephilharmonie for instance.
Another great artist I never heard of. Credit to the Tube!
me too_ thank you youtube
Een absoluut meesterwerk van een van Nederlands grootste componisten!!!!!
it is like a mantra, listen to it makes you happy.
A great composer whose music stands out
This is a masterpiece
betoverend en verslavend om naar te luisteren
Superbe musique qui prend le temps dans sa profonde évidente complexité de nous amener très loin
I rank Incantatie IV as Ten Holt's best piece. It is incredibly deep and personal music.
Lemniscaat might be preferable I guess
@@foliesamsterdam3836 Or Méandres.
@@WigbertTraxler He has something to say and he says it, slightly differently, in a number of pieces. I'm a huge fan of all the works you mention, and more besides. He may not be as 'important' as Reich or Glass or Adams, but he has a quiet luminosity that they sometimes lack (not unlike Part, come to think of it) and has crafted some near-perfect jewels.
I consider him at least as important as Reich. Adams is king, perhaps. But Glass is dull.
@@WigbertTraxler Glass opened my eyes. I don't like everything he does but he does a lot. Can you be the most famous living 'classical' composer for 50 years and not be important?
Even bezwerend als de Canto. Zo goed!
This captivating piece reminds me of the way I felt when I first heard the music of Philip Glass and Steve Reich. It blew my mind, as does Simeon ten Holt's music. I regret that I didn't discover him much sooner. I am assuming that he was on the scene before they were since he was born in 1924.
Of course none of the composers who write this kind of music like to be categorized as belonging to a "school." Nonetheless I have to wonder which of them could be called the first Minimalist in the Modern Age. The answer that is most often given is Terry Riley. Simeon ten Holt was born eleven years before Riley but I don't know what year he started becoming active on the music scene. I suppose the answer to that question really has to be Erik Satie, no?
The first piece of repetitive music by Ten Holt was written in the 1970's, when Reich, Glass, Riley and La Monte Young had already done a great deal of work.
But already his first piece of music with repeating patterns is different from the American composers; more into the European tradition, more pianistic. ( I also like the American composers. )
Vexations, right? Satie was always ahead of the game.
Incantatie IV: op 15 april 2015 live door het Rondane Kwartet in kerk De Duif in Amsterdam.
This is my favorite ten Holt piece, and the performance is superb. The performers really outdo themselves, though, around 1:16:30, in the way they put together the "cumulation" at that point. It's inspired.
ik vind deze veel rijker dan Canto, in termen van informatieve inhoud en kleur. Bravo, maestro!
Wow! This blew my mind, I'm in trance
betonverend lied
ik hou van te holt liederen
Lindo! A música continua seguindo dentro de mim! Thanks a lot!!!!
around 1:46:00 - wonderful texture! a welcome change indeed
bedankt!! prachtig hoor!
Brillant!
In the tradition of pure manifestation...
muziek uit de Hemel
please, can someone translate into English Simeon ten holt programs to his wonderful piano songs? I know almost nothing Dutch, so I can not understand what's written. thanks.
Attempt to translate the Dutch program note:
The musical procedure can be compared with the separate print runs needed to make a silk screen print. Like the different colors, which are applied one after another, in this score the different parties (layers) are added / removed one after another. All layers are of equal importance, and have alternatingly the status of main issue and side issue, they dominate and recede, main color and side-color, from solist to silence (..).
It must be clear that with Incantatie IV we are dealing with a musical score, which occur in the area between written and improvised music. And that the player not only is active if there are notes, or is silent when nothing is prescribed. The ambiguity of the notation (eg rhytmic) suggests that every layer may be doubled eg. or as multiple unison, be it as main or side coloring - SIMEON TEN HOLT
Play it parallel with itself with a few seconds delay...
and the caribbean notable character and accent would say heard in a similar manner playing cuban pianists !
I adore all of Simeon ten Holt's music. Yet it seems to be a matter of temperament or something, because one professional pianist friend says she finds it utterly boring. Who's right who's wrong?
Dear Seb, there is no wright or wrong. A piece of music grabs you or it doesn't or only after a few takes. Being a professional pianist has nothing to do with it.
@@josvgorkum7968 .. Thank you for your interesting reply. Yet I feel it must also be to do with musical education and cultural background. No?
@@sebastianverney7851 Здравствуйте. Культурный фон и музыкальное образование однозначно влияют. Нашему мозгу нравится похожее, то есть если вы слушаете трек, который имеет схожий стиль и мотив с тем, что вы слущали ранее, то это доставляет "удовольствие" нашему мозгу. На мой взгляд, чтобы слушать Simeon Ten Holt нужно к нему подступиться и подготовиться, например, с помощью музыки Arvo Pärt, которая не настолько минималистична, но это при условии если Вы до этого слушали классику ( академическую музыку прошлых столетий), если же Вы до этого были поклонником эстрады, то и переходным этапом будет музыка, напоминающая чем-то Pop-музыку.
@@sebastianverney7851 You will find professionals finding Mozart dull, so one does not need to be too concerned.
@@ondrejnovotny7628 thank you 🙂
17:13 so cool
Cosmisch, zoals andere werken van hem die ik tot nu heb beluisterd
Does anyone know of an alternative recording of this? I would like to hear interpretations of it by different performers.
If you are still looking for an alternative recording, there is this one: ua-cam.com/video/lkGAdKxAF8o/v-deo.html
Thanks for the link! (That one is sadly still van Veen et al., though)
@@Hypnosing true, it would be cool to hear another interpretation. I have not heard this from any other performers either.
ua-cam.com/play/OLAK5uy_kAwPkE7niRbs6r4Gnj60QvyVqeF1YGvFg.html
ua-cam.com/play/OLAK5uy_mawuJVznguTvSTOn2MD1hRw2JoTNAo-OM.html
ua-cam.com/play/PLGDVduXM7PkRH42gcdLzDI-goAhiTdyzU.html
@@GinEregMan Thanks a lot!!
Hi, is there a way to download the mp3 files? I'd love to listen to them also when I'm not connected. Thank you.
The composer's website has a link to iTunes, where you could purchase the mp3:
www.simeontenholt.com/webshop/CDsales/IncantatieIV/
Another option would be to install a browser plugin capable of downloading the audio from UA-cam videos.
Thank you!!
46:24
17:00
Гиперсоник меня обидел........................................
..de aspiratie neigt duidelijk naar latin weet je wel, ga dan!
..zo'n grandioze compositie zou niet uit gevoerd moeten worden..
..zenuwachtig gezeik over volstrekt duidelijke akkoorden