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Belgian Music


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Latvian
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« Reply #45 on: August 13, 2013, 02:28:23 pm »

Arthur Meulemans (1884-1966)

Symphony No. 4 for winds, brass and percussion (1935)
    in 4 movements, details unknown

  Symphonic Band of the Belgian Guides
  Yves Ducene, conductor

http://www.mediafire.com/download/7dlk8x9xnj57dg4/meulemans-sym4.rar

From a very rare 10" Belgian LP.
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« Reply #46 on: March 18, 2014, 06:49:38 pm »

Willem Kersters: Piano Concerto


From the collection of Karl Miller


Piano Concerto(1978)
Abdul Rahman El-Bacha, piano
Belgian National Orchestra/Georges Octors

http://www.mediafire.com/download/3rfj2lg3p0k6iln/kersters.zip

Bio(Machine Translation from Wikipedia Page):

Kersters did his studies from 1945 at the Royal Flemish Conservatory in Antwerp in harmony and piano. After he completed his studies at the Royal Conservatory in Brussels with Jean Louël, Jean Absil and Marcel Quinet, counterpoint, Fugue, Marcel Poot, composition and orchestra conducting with René Defossez,. After he had graduated, he was several years in the cities of Tienen, Leuven and Aarschot worked as a music teacher. From 1961 to 1968 he was in the function of a leader of the music program at the BRT.

From 1962 he is also lecturer in harmony and later also composition at the Royal Flemish Music Conservatory in Antwerp. In 1967 he was professor at the Conservatory in Maastricht for the music theoretical subjects called. In this position he remained until 1989.

For his compositions got Kersters national and international prizes and awards.


Bio from cebedem.be:
Willem KERSTERS was born in Antwerp on 9 February 1929. From 1945 he studied at the Royal Conservatory in the same city, where he earned first prizes in solfège, harmony and piano. He then furthered his studies at the Royal Conservatory in Brussels under Jean Louël (counterpoint), Jean Absil and Marcel Quinet (fugue), Marcel Poot (composition) and René Defossez (orchestral conducting). After receiving his diploma in music education, he worked for several years at secondary schools in Tienen, Leuven and Aarschot. From 1961 to 1968 he was a music programmer at the regional broadcast in Limburg of the BRT (Belgian Radio and Television

From 1962 he also held functions at the Royal Conservatory in Antwerp, first as a teacher of harmony, and later as the head composition teacher. In addition, he became the head of the theory department at the Maastricht Conservatory in 1967. Among his pupils may be cited Alain Craens, Koen Dejonghe, Jan De Maeyer, Luc Van Hove, Wim Henderickx and Marc Verhaegen. In 1989 he stopped teaching at these two conservatories. He died on 29 December 1998 in his native city.

As a composer, Kersters received numerous awards both in Belgium and abroad, including the Second Count de Launoit Grand Prize in the International Queen Elisabeth Composition Competition in 1961 for the ballet Triomf van de Geest (Triumph of the Spirit, 1959), the City of Trieste Prize in 1963 for his Second Symphony (1963), and an award for his Second String Quartet (1964) in the International Composition Competition for String Quartets in Liège in 1965. In 1968 and 1972, he won two awards for his complete output, the Eugène Baie Prize from the Province of Antwerp and the SABAM Prize (from the Belgian asscociation for authors' rights). Kersters composed the obligatory piano concerto for the 1978 edition of the Queen Elisabeth Competition. At the end of 1990, he was elected a member of the Royal Academy for Sciences, Letters and Fine Arts of Belgium.

WORKS
As a composer, Kersters never attached himself for long to a particular system. His career can be divided into various phases on the basis of harmonic and structural form. The period before 1960 may be characterised as very intuitive in terms of harmony, while the structure was determined by fixed, classical forms such as the sonata and the rondo. Examples from this period include his Concertino for oboe and strings (1953), Six Songs (1953-55), Sonata for viola and piano (1954), Sinfonietta for chamber orchestra (1955-56), Partita for viola and piano (1956) and the ballet Parwati (1956). Late-Romantic and Expressionist characteristics are here blended in a natural way. Influences from Bartók can be heard in, among other works, his Divertimento per archi (1958), with a clear reference to the composer already evident in the title.

At the end of the 1950s, Kersters developed a new compositional technique based on the principle of the tritone relationship. This creates something of a bi-tonal system, where two tonalities at the distance of a tritone become completely united in an autonomous new tonality. This harmonic innovation had already grown intuitively over the preceding decades. The harmonic basis of these works can be traced back to the same chord, in which the seventh and the eleventh overtones form the essential components (for example, on a fundamental of c, the notes b-flat and f-sharp ). The ballet Triomf van de Geest (1959) was the first work to be composed according to this principle. Other works in this technique are Six Two-Part Inventions (1959), Two Preludes for Organ (1961) and Psalmen (1962).

Quickly working through the possibilities of this system, Kersters soon went in search of new methods of composition. In the 1960s, after a thorough study of the dodecaphonic system, he switched to a serial style, incorporating his theory of tritone relationships. His First and Second Symphonies (1963 and 1964), the Plechtige Ouverture (Solemn Overture, 1963) and Concertmuziek (1964) were the results of this new approach.

The four-movement First Symphony is based on four series (one per movement). The Adagio can be seen as a broadly spun-out slow introduction; the two main themes of the Allegro molto are clearly identifiable and a climax is reached on the name BACH; the Adagio is, in terms of form, inspired by an ornamented chorale; the Finale is based on a simple rondo form.

In the second half of the 1960s, Kersters developed the 'tonality of the twelve-tone scale', meaning that the tonal and the atonal principle were interwoven. The first application of this system was the Third Symphony (1967). Anything usable, both from the past and from contemporary musical language, was organically integrated into this new idiom. In a work such as Three Preludes (1971) there is hardly a trace left of traditional thematic development. The percussion is given an ever more important role, functioning as a colour element, in such works as Capriccio (1972), or it is used as an independent instrumental group, as in Anaglyphos (1969), with its surprising and absorbing sound combinations.

With the move from instrumental to vocal music, Kersters also began to take distance from the dodcaphonic style, which he considered unsuitable for choral works and solo vocal parts. This led him, around 1975, back to his original point of departure, an intuitive style, which was now further exploited on the level of form, so that the structure took shape during the process of composing itself. This phase saw the composition of the large-scale vocal works, such as the Gezellesymfonie (1979, Fourth Symphony) with alto solo on three evening poems by G. Gezelle, Baas Gansendonk (1981), an opera in three acts after H. Conscience's work of the same name, and Het Zonnelied (The Song of the Sun, 1986), after St Francis. For his vocal works, he turned to Dutch, French, English, Catalan and early Italian texts. The melody closely follows the word accents, leading, for instance, to frequent metrical changes in order to place a particular syllable on the first beat of the bar. He showed a preference for texts by Paul Van Ostaijen, as, for example, in the large-scale chamber oratorio, De Feesten van Angst en Pijn (The Feasts of Fear and Pain, 1996).

Kersters' extensive oeuvre numbers more than 120 works; and yet, especially toward the end of the 1970s, his compositional activity slowed considerably, a fact that can be attributed to a more critical approach, which led to a lessening of spontaneity.




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All download links I have posted are for works, that, to  my knowledge, have never been commercially released in digital form.  Should you find I've been in error, please notify myself or an Administrator.  Please IM me if I've made any errors that require attention, as I may not read replies.
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« Reply #47 on: July 17, 2014, 08:39:22 pm »

Symphony (1958), by David van Woestijne

http://www.mediafire.com/listen/hdx8hpb14p28omc/Woestijne_symphony.mp3

BBC National Orchestra of Wales, cond. van Steen

From a radio broadcast.

Some bio here: http://www.cebedem.be/en/composers/w/152-woestijne-david-van-de
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« Reply #48 on: August 11, 2014, 10:47:03 am »

Karel de Brabander – Symphony Nº 2 (1978)*
(Geel, 31/03/1913 > Watermaal-Bosvoorde, 20/11/1984)
Symphony Orchestra of the  BRT, conducted by Fernand Terby.

http://www.mediafire.com/listen/kpgsctmevtmrq3l/Karel_De_Brabander_-_Symfonie_Nr_2.mp3


The recording was made from a radio broadcast in februari 1984. It shows the tape is somewhat deteriorated. Especially the first minute is pretty bad.
I post it here, because the symphony is in my opinion worth to be heard.
Date of composition unknown.

More info on the composer:  http://www.svm.be/content/de-brabander-karel

*Thanks to Holger who provided the composing date
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« Reply #49 on: August 11, 2014, 11:18:23 am »

August L. Baeyens - Lofzang aan de Haven (Hymn of the Harbour) (1929), a Cantata

From Hymn of the Harbour you will hear a mono recording with the narrator Jos Joos, the BRT choir and the Symphony Orchestra of the former BRT, directed by Daniel Sternefeld. This is a recording I made from the Belgian Radio (BRT) in 1984

http://www.mediafire.com/listen/6p3bgsbdz6f7a6i/Baeyens,_August_L-Lofzang_aan_de_Haven.mp3

I listened to the work, wrote down the dutch text of the intro and auto translated that (below)
:

The composer belonged to those who were looking for radical changes in composing.
Both Hindemith and the Jazz-music pushed Baeyens in the direction of vital expressionism, that had to give expression to a fierce emotional charge.
The original french text by Rogier Avermaete, here translated in dutch by Victor Bruncklaer, thus creates the port activity as a melting pot of all human passions: of immoderate labor, various sensory and strike violence to end in an ode to the labor.
The importance of the rhythm, the role of the drums, until then unusual melodic section, the use of speaking voices in the choir and the major role of the reciter, are so many innovations that this cantata is to be labeled as a revolutionary step of the musical picture of 20th century.


Here is the text of the declamation: (in dutch)
http://www.mediafire.com/view/w42m6wuk9c6ppxb/Baeyens_-_Text_bij_Ode_aan_de_Haven.rtf
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« Reply #50 on: August 11, 2014, 08:34:51 pm »

Willem Kersters (Antwerpen, 09.02.1929 - 29.12.1998)

A Hymn of Praise, op 38 -Oratorio in two parts on Hebrew Psalms (1966)
written for speaking voice, soprano, contralto, vocal trio (2 tenors, 1 bass), 1 bass voices, chorus and orchestra.

Recording from the Belgian radio in 1985.

http://www.mediafire.com/download/0v79t8f4h06r979/Kersters_Willem_-_A_Hymn_of_Praise_-_Track_01_.rar
http://www.mediafire.com/download/4xsjtqadlrft2yf/Willem_Kersters_-_A_Hymn_of_Praise_-_Track_02.rar
http://www.mediafire.com/download/6b21furmzwl8q0q/Willem_Kersters_-_A_Hymn_of_Praise_-_Track_03.rar
Announcement:http://www.mediafire.com/listen/traut2m1q71t6ea/Kersters_Willem__-_A_Hymn_of_Praise_-_intro.wav

More info on Willem Kersters
http://nl.wikipedia.org/wiki/Willem_Kersters
http://www.muziekcentrum.be/identity.php?ID=134639
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« Reply #51 on: August 11, 2014, 09:50:04 pm »

Jef  (Jozef) Schampaert (Kalfort-Puurs, 18/02/1899 > Willebroek, 11/01/1985)

Sotternieën (Buffoonery) - Muzikaal kluchtspel (Musical farce play)
Performers not known (for now)
http://www.mediafire.com/listen/54sird6h267xx22/Jef_Schampaert_-Sotternien.mp3

More on the composer:
http://www.svm.be/content/schampaert-jozef

Recorded from the Belgian Radio 1979
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« Reply #52 on: August 15, 2018, 10:37:15 pm »

Music of the Low Countries, part 2 (Belgian composers)

Jan Blockx (1851-1912)
Flemish Dances, Op. 26 (1884)
      Reuzendans
      Anne-Marieke
      Reuzendans II
      Zeg kwezelken, wilde gy dansen?
      Jagerdans
   Irwin Hoffman, conductor

August de Boeck (1865-1937)
Rhapsodie dahoméenne (1893)
   Irwin Hoffman, conductor
   
August de Boeck
Symphony in G (1893)
      Andante -- Allegro vivace e molto agitato -- Andante celeste
      Scherzo
      Andante
      Allegro giocoso
   Irwin Hoffman, conductor
   
Arthur Meulemans (1884-1966)
Pliny's Fountain (1913)   
      Summer Morning at Pliny's Fountain (Moderato)
      At Twilight (Poco con moto)
      Night Festival (Allegro)
   Irwin Hoffman, conductor

Arthur Meulemans
French Horn Concerto No. 1 (1939)
      Allegro
      Andante
      Rondo: Allegro giocoso
   Andre van Driessche, French horn
   Ari Ostrovsky, conductor

Jef Van Hoof (1886-1959)
Symphony No. 3 in E-flat major (1941)
      Moderato
      Tempo di marcia funebra
      Scherzo
      Allegro
   Irwin Hoffman, conductor
   
Jef Maes (1905-1996)
Ouverture concertante (1961)
   Gerard Devos, conductor
   
Louis de Meester (1904-1987)
Sinfonietta buffa (1949)
      in 4 movements
   Mendi Rodan, conductor
   
Norbert Rosseau (1907-1975)
Overture to a Comedy by Goldoni, Op. 1/66 (1966)
   Paul Strauss, conductor
   
Marcel Poot (1901-1988)
Symphonic Ballad (1976)
   Ogan d'Narc, conductor
   
David van de Woestijne (1915-1979)
Twenty-One (1976)
   Irwin Hoffman, conductor
   
Victor Legley (1915-1994)
Three Movements for Brass and Percussion, Op. 76 (1969)
   Fernand Terby, conductor
   
Jacqueline Fontyn (1930-
Per archi (1971)
   Gerard Devos, conductor
   
Willem Kersters (1929-1998)
Halewijn, Op. 62 (ballad, 1974)
   Irwin Hoffman, conductor
   
   all with Belgian Radio & Television Symphony Orchestra

FLAC files divided into three RAR folders:

https://mega.nz/#!6SpGnaCA!mk7uU3QPKv0pZbbUNfkUJgut6SaMM 2yZsJtWmhklVus
https://mega.nz/#!nDgCFSSI!LAJY0PklCBJlW8bDxcBjsgLK6o-VwL9sJrKGBu4fXF0
https://mega.nz/#!nO5kXCRL!0yfagnoEjA30MqqlRB_UT1MFGTWjB O-NCeJln0urX6Y

Here is an especially interesting, varied, and enjoyable set of works from one of many non-commercial sets distributed free of charge to radio stations by Radio Nederland, with the goal of promoting and popularizing Dutch music and performers. This particular set was a 1973 co-production with Belgian Radio & Television and featured a mix of Dutch and Belgian composers and performers in both classic and then-new works, from a mix of studio and live recordings in their archives. I obtained this particular 8-LP boxed set years later in a used copy (though very good condition), but I was fortunate to have been a classical radio show host at my college radio station for three years. A friend of mine with connections at a larger public radio station got me on the mailing list for Radio Nederland releases and it was an indescribable thrill to receive discs from them on a regular basis, with much music that was unfamiliar to me at the time, and which I happily played on my shows. An added benefit was that the radio station had no interest in keeping the discs after broadcast so I was able to take them home. Thus began my interest in Dutch music.

Please do not share these links outside of this forum.
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« Reply #53 on: June 12, 2019, 01:57:25 am »

Well, some of the dead ones on here, such as the de Vocht and Rasse violin concertos would be nice, unless you can find them commercially available anywhere.

https://www.mediafire.com/file/jtgkac5zge5ftvi/deVocht_vlnCto.wav/file

I have not had time to put these links in the correct location on this site or transcribe the details (I am about to leave home for London)....but since you asked!
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« Reply #54 on: June 12, 2019, 03:57:16 pm »

unless you can find them commercially available anywhere.

The Rasse violin concerto is in fact available commercially; as far as I can see it's the same performance:
https://www.prestomusic.com/classical/products/8016146--rasse-violin-concerto-jongen-piano-concerto#about

I liked the concerto, which was completely unknown to me, and have downloaded it from Presto Classical.
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« Reply #55 on: April 27, 2022, 09:33:56 am »

Absil,Jean - Introduction and Waltz
Sternefeld /Belgian RTV SO

https://mega.nz/file/Uy5SAQLL#G5MmHFUVuhY59_EqKb0nd-RbDMIBiaxn0qBpdvlW5vk
« Last Edit: April 28, 2022, 12:30:39 am by Admin » Report Spam   Logged
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« Reply #56 on: April 27, 2022, 09:41:27 am »

Absil,Jean - Mythologie Op. 84, Suite Symphonique (1954)
Defosssez /Belgian RTV SO.
1 Jupiter  2 Venus    3 Vulcain     4 Ceres   5 Pan


https://mega.nz/file/I3AzlSiB#-VDtvqjRdhKAd9kpWy3QiXXdpSG0FdT_PYe1C__fIeQ
« Last Edit: April 28, 2022, 12:31:22 am by Admin » Report Spam   Logged
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« Reply #57 on: May 11, 2022, 08:00:04 am »

Kersters,Willem - Concert Music_ for Piano & Orch. Op.28 (1964)
performers unknown
internet Archives

Kersters,Willem - Concertino for Oboe and String Orchestra Op. 2
Czech Virtuosi Chamber Orchestra · Herman Engels · Piet van Bockstal
I. Quasi andante-Allegretto  60   II. Lento  624   III. Allegro  434
internet Archives

Kersters,Willem - Meditation On B-A-C-H for Trumpet and Ch. Orch. (1968)
Merters /Alberth /Belgian RTV Cham.Orch.
internet Archives

Kersters,Willem - Serenade No. 2           
Daniel Gazon - dirigent,Tina Ceh - solist,L’Orchestre d’ARTS
internet Archives

Kersters,Willem - Suite in the form of a French Overture Op. 29
George Maes conducting The Chamber Orchestra of Belgium
internet Archives

https://mega.nz/file/IyRWCBRS#jHaOLZPBh2MHiNKWl0oe0BcsBEGtNw0DGrS_J17BBwU
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