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Dutch Diversity

Brisk Recorder Quartet Amsterdam, Marcel Beekman

Dutch Diversity

Price: € 19.95
Format: CD
Label: Globe
UPC: 8711525525009
Catnr: GLO 5250
Release date: 05 December 2011
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Label
Globe
UPC
8711525525009
Catalogue number
GLO 5250
Release date
05 December 2011
Album
Artist(s)
Composer(s)
NL

About the album

Wat is de blokfluit toch een veelzijdig instrument. Oeroud, hedendaags, ernst, ironie, gedragenheid, entertainment, het is allemaal te horen in dit fascinerende recital. De leden van het Brisk Recorder Quartet beschikken over een groot aantal uiteenlopende blokfluiten. Sommige instrumenten zijn hoog gestemde kopieën van middeleeuwse instrumenten, gemaakt door Adrian Brown. Tijdens concerten springt echter vooral de 'contrabas' eruit: een blokfluit van bijna twee en een halve meter lang. Nu eens klinkt het ensemble als een schokkerige Sint Vitusdans, dan weer als een gedragen renaissance blokfluitconsort, soms echter ook als een tropisch regenwoud met allerlei psychedelisch pluimage. De gastsolisten – jazzzangeres Greetje Bijma, componist Guus Janssen, slagwerker Ramon Lormans – versterken het beeld alleen maar. Met Greetje Bijma werkte het ensemble verschillende improvisatiemodellen uit. Een van die modellen mondde dus uit in dat tropische regenwoud, te beluisteren als Sporen op track 18. (HJ)

Artist(s)

Marcel Beekman

Dutch tenor Marcel Beekman is much in demand as a soloist for baroque and classical repertoire as for contemporary concert and operatic works. He has appeared with the Berliner Philharmoniker, the Royal Concertgebouw Orchestra, the Orchestra of the 18 th Century, Les Arts Florissants, Musica Antiqua Köln and the ASKO|Schönberg under such conductors as Sir Simon Rattle, William Christie, Iván Fischer, Frans Brüggen, John Adams and Reinbert de Leeuw. Marcel Beekman has created new works by composers Micha Hamel, Elmer Schönberger, Roderik de Man and Calliope Tsoupaki. Marcel Beekman performs in the great international concert venues and in festivals such as the Holland Festival Amsterdam, Salzburg Easter Festival, Utrecht Ancient Music Festival, Nederlandse Muziekdagen, Bregenzer Festspiele, Festival de La Chaise-Dieu...
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Dutch tenor Marcel Beekman is much in demand as a soloist for baroque and classical repertoire as for contemporary concert and operatic works. He has appeared with the Berliner Philharmoniker, the Royal Concertgebouw Orchestra, the Orchestra of the 18 th Century, Les Arts Florissants, Musica Antiqua Köln and the ASKO|Schönberg under such conductors as Sir Simon Rattle, William Christie, Iván Fischer, Frans Brüggen, John Adams and Reinbert de Leeuw. Marcel Beekman has created new works by composers Micha Hamel, Elmer Schönberger, Roderik de Man and Calliope Tsoupaki. Marcel Beekman performs in the great international concert venues and in festivals such as the Holland Festival Amsterdam, Salzburg Easter Festival, Utrecht Ancient Music Festival, Nederlandse Muziekdagen, Bregenzer Festspiele, Festival de La Chaise-Dieu and Saito Kinen Festival Japan. A considerable list of CD recordings bears witness to his versatility.

Marcel Beekman’s operatic repertoire includes the roles of Berenice in L’Ipermestra [Cavalli], Valère in Les Indes Galantes [Rameau], Sénéchal and Pégase in L’Écume des jours [Denisov], Ricardo in Laika [Martijn Padding], the title role of Willem Breuker’s Jona, Laki Topalović in Maratonci [Žebeljan] and Arnalta in Monteverdi’s L’Incoronazione di Poppea. His creation in the title role of Rameau’s Platée in the 2014 production with Les Arts Florissants and directed by Robert Carsen in Vienna, Paris and New York was highly acclaimed by the international press. Future appearances include the role of Maître de Musique in Campra’s Les Fêtes Vénitiennes at the Opéra Comique in Paris [with a revival in Toulouse and New York]; Damon in Les Sauvages [Rameau] in a special concert on the occasion of the opening of La Philharmonie de Paris; Le Cabaretier in Benvenuto Cellini [Berlioz] at the Netherlands National Opera and further new productions in Vienna, Los Angeles and Amsterdam.


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Brisk Recorder Quartet Amsterdam

BRISK, the ensemble’s name, is intended to convey an idea of liveliness and wakefulness. A critic once described the ensemble as providing “a coup de grâce for the recorder’s respectable image”. BRISK’s concerts exhibit variation of style and mood, virtuosity and light-heartedness in equal measure. The quartet always appear on stage with an enormous assembly of recorders. Since their founding in 1986, BRISK has given many concerts in important concert halls and festivals throughout Europe, in Bolivia, Canada and the USA. BRISK has recorded for radio and television both in the Netherlands and abroad, as well as recording over ten CDs that have been well received by both press and public. Its daring programming of early music in combination with contemporary...
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BRISK, the ensemble’s name, is intended to convey an idea of liveliness and wakefulness. A critic once described the ensemble as providing “a coup de grâce for the recorder’s respectable image”. BRISK’s concerts exhibit variation of style and mood, virtuosity and light-heartedness in equal measure. The quartet always appear on stage with an enormous assembly of recorders. Since their founding in 1986, BRISK has given many concerts in important concert halls and festivals throughout Europe, in Bolivia, Canada and the USA. BRISK has recorded for radio and television both in the Netherlands and abroad, as well as recording over ten CDs that have been well received by both press and public.

Its daring programming of early music in combination with contemporary music is designed to expand the borders of the ensemble’s repertoire. Many composers have dedicated works to the quartet. BRISK works regularly with fellow musicians as well as with artists from other related disciplines such as actors, directors, librettists and film-makers.

BRISK made its name through lively performances of early music, the search for little-known repertoire, and for the many arrangements that the ensemble has made, which suit the style and tradition of the instrument. BRISK has collaborated with Amaryllis Dieltiens, Michael Chance, Marcel Beekman, Johannette Zomer, Maarten Koningsberger, the Egidius Kwartet, the Gesualdo Consort, Bernard Winsemius, Leo van Doeselaar, Rainer Zipperling, Mike Fentross and Camerata Trajectina amongst others.

The long list of composers that have written music for the quartet includes Martijn Padding, Kate Moore, Calliope Tsoupaki, Bart Visman, Klaas de Vries, Roderik de Man and many others.

New works are presented as a comment on or as a contrast to older works in BRISK’s programmes. There is also a large quantity of new music in BRISK’s programmes for younger audiences. BRISK regularly gives concerts in collaboration with specialists in contemporary music such as pianist Tomoko Mukaiyama, composer and improviser Guus Janssen, vocalist Greetje Bijma and percussionist Ramon Lormans.

BRISK has created a number of highly successful productions for children with directors David Prins, Jetse Batelaan, Marc Krone, Gienke Deuten and actors Porgy Franssen, Bart Kiene and Hans Thissen.

The quartet possesses a great variety of instruments; its extensive contacts with recorder makers throughout the world ensure that its collection is in a state of continual development. This variety of instruments enables the ensemble to perform works from the Renaissance and the Baroque as well as the 20th and 21st centuries in their correct tuning and with the correct timbre.


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Composer(s)

Josquin Desprez

The fact that Josquin Desprez would turn out to be one of the most influential composers of the Renaissance, is partly due to the many praises by Martin Luther. Luther saw Josquin's music as the perfect example of how to express text musically while maintaining the intended meaning. If you listen to Josquin's music, you will know what Luther meant. His motets are particularly appealing and engaging.  His popularity led a large number of publishers to publish music with Josquin's name on it, even though it wasn't composed by him at all, as this would undoubtedly generate better sales. Unfortunately, this meant that nowadays it is not always clear which works are written by him, and which are not...  His authentic works,...
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The fact that Josquin Desprez would turn out to be one of the most influential composers of the Renaissance, is partly due to the many praises by Martin Luther. Luther saw Josquin's music as the perfect example of how to express text musically while maintaining the intended meaning. If you listen to Josquin's music, you will know what Luther meant. His motets are particularly appealing and engaging.

His popularity led a large number of publishers to publish music with Josquin's name on it, even though it wasn't composed by him at all, as this would undoubtedly generate better sales. Unfortunately, this meant that nowadays it is not always clear which works are written by him, and which are not... His authentic works, however, can be distinguished by their remarkable clarity, ingenuity and depth. Some highlights are his motets Miserere mei, Stabat Mater, his famous Ave Maria, Ut Phoebi Radiis, and his lamentation after the death of Johannes Ockeghem (La Déploration).


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Johannes Martin

Born in Augsburg (Germany) 1962, Martin Kränzle dedicated himself to singing after having played the violine, composing and studying to be a music theatre director. The baritone studied voice with Martin Gründler at the Musikhochschule Frankfurt. After engagements in Dortmund and Hanover, he has been member of the Frankfurt Opera since 1998. Guest contracts led him to the Scala in Milan, to the Salzburger and Bregenzer Festspiele, to the Glyndebourne Festival, he did four productions at the San Francisco Opera, he sung in Munich, Hamburg, Berlin, Geneve, Sofia, Cairo, Tel Aviv, Tokyo, Tbilisi and Spoleto (Italy). His wide repertoire encludes over 100 roles, such as all leading characters of Mozart (Giovanni, Papageno, Don Alfonso, Conte Almaviva) and Rossini (Figaro, Dandini), Eisenstein (The...
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Born in Augsburg (Germany) 1962, Martin Kränzle dedicated himself to singing after having played the violine, composing and studying to be a music theatre director. The baritone studied voice with Martin Gründler at the Musikhochschule Frankfurt. After engagements in Dortmund and Hanover, he has been member of the Frankfurt Opera since 1998. Guest contracts led him to the Scala in Milan, to the Salzburger and Bregenzer Festspiele, to the Glyndebourne Festival, he did four productions at the San Francisco Opera, he sung in Munich, Hamburg, Berlin, Geneve, Sofia, Cairo, Tel Aviv, Tokyo, Tbilisi and Spoleto (Italy).
His wide repertoire encludes over 100 roles, such as all leading characters of Mozart (Giovanni, Papageno, Don Alfonso, Conte Almaviva) and Rossini (Figaro, Dandini), Eisenstein (The Bat) and Danilo (Merry Widow), Wolfram (Tannhäuser), Beckmesser (Meistersinger), Alberich (Rheingold), Ford (Falstaff), Bolkonski (Prokofieff: War and Peace), Tomsky (Pique Dame), Billy Budd (Britten), Nietzsche (Rihm: Dionysos - First performance at Salzburg Festival) and Orphee (Offenbach) with the self-played Violinsolo.
He regularly gives concerts and song recitals (e.g. at the Schleswig-Holstein-Festival, Goethehaus Frankfurt, Spring Festival in Budapest, Expo 2000 Hanover) as well as oratorios (e.g. in Notre Dame Paris, Dom in Cologne, Dormition Abbey Jerusalem, Vilnius Festival). He received various prizes at singing contests in Berlin, Vercelli (Viotti), Hanover, Perpignan, Paris (Placido Domingo), and since he got the Primo Grande Premio in Rio de Janeiro 1991 he holds visiting professorships at various Brazilian universities.
His chamber opera Der Wurm was awarded 3rd prize in the composition contest of the Neuköllner Opera, Berlin, in 1997. At the moment Oehms Classics has produced his first Solo-CD “Die Mitternacht zog näher schon” with Ballads from Loewe, Schumann, Schubert, Mahler, Wolf and Busoni.
He was annouced as “Singer of the Year” 2011 from the leading opera magazine Opernwelt. He was also awarded the “Kölner Opernpreis” 2012. At the moment he appears at Staatsoper Berlin and Teatro alla Scala Milano in Wagners Ring of the Nibelung as Alberich, conducted by Daniel Barenboim.
Hilko Dumno Piano Hilko Dumno studied Piano, Chamber Music and Song Interpretation at the Hochschulen in Detmold and Frankfurt am Main. Among his teachers were Gregor Weichert, Rainer Hoffmann, Tabea Zimmermann and Eugen Wangler. He was a scholarship holder from the Endowment of the Arts, officially sponsored by the German Government, the Villa Musica Mainz and the Yehudi Menuhin Foundation.
He has regular collaboration with Christoph Pregardien, Johannes Martin Kränzle, Hans-Jörg Mammel, Georg Poplutz, Hedwig Fassbender and Julia Kleiter whom he has accompanied at various Festivals among which are Schleswig-Holstein, Schwetzingen, Dresden, Luzern, Geneva, the Styriarte in Graz and the Schubertiade in Schwarzenberg. Further concert tours brought him to North America and Japan. He has taken part for several broadcasting productions in Germany, Austria and Switzerland. He has also produced CDs with Christoph Pregardien and Julia Kleiter, with Johannes Martin Kränzle and Hedwig Fassbender. Hilko Dumno teaches Song Interpretation at the Hochschule for Music and Performing Arts in Frankfurt am Main and gives regularly Masterclasses in Germany, Italy and France.

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Heinrich Isaac

Many know Heinrich Isaac from his twee famous settings of Innsbruck, ich muss dich lassen. Isaac is, however, author of an enormous body of works, with which he quickly grew to fame. Isaac was born in Flanders and received good education, despite the fact that he didn't pursue a career in the Church (which was unusual for a man of his stature). He was married, but probably has remained childless his whole life. Isaac's musical career developed remarkably well, with two of the most important employers of his age: after a position among the legendary House of Medici, he was appointed to be the main composer of the court of king Maximilian I. Heinrich Isaac's influence is especially apparent in his...
more
Many know Heinrich Isaac from his twee famous settings of Innsbruck, ich muss dich lassen. Isaac is, however, author of an enormous body of works, with which he quickly grew to fame. Isaac was born in Flanders and received good education, despite the fact that he didn't pursue a career in the Church (which was unusual for a man of his stature). He was married, but probably has remained childless his whole life. Isaac's musical career developed remarkably well, with two of the most important employers of his age: after a position among the legendary House of Medici, he was appointed to be the main composer of the court of king Maximilian I.
Heinrich Isaac's influence is especially apparent in his masses. He wrote no less than 36 masses, many of which were based on traditional Gregorian chants. Besides that, in his monumental Choralis Constantinu he sought to compose masses for every sunday of the year, but unfortunately this project was never finished. Isaac also composed many motets and songs, which shows his versatility and his extraordinary productivity.
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Press

Play album Play album
01.
Les Bouffons
01:25
(Pierre Phalése) Brisk Recorder Quartet Amsterdam
02.
Passomezo d'Italye/Reprinse
02:07
(Pierre Phalése) Brisk Recorder Quartet Amsterdam
03.
La Gaillarde
00:39
(Pierre Phalése) Brisk Recorder Quartet Amsterdam
04.
Gaillarde Si pour t'aymer
01:06
(Pierre Phalése) Brisk Recorder Quartet Amsterdam, Pierre Phalése
05.
Burata Gaillarde
00:24
(Pierre Phalése) Brisk Recorder Quartet Amsterdam
06.
Ronde pourquoy
01:09
(Pierre Phalése) Brisk Recorder Quartet Amsterdam
07.
Bransle de Bourgogne
00:54
(Pierre Phalése) Brisk Recorder Quartet Amsterdam
08.
Vleug
05:30
(Guus Jansen) Brisk Recorder Quartet Amsterdam
09.
J'ay pris amours
02:49
(Johannes Martini) Brisk Recorder Quartet Amsterdam
10.
J'ay pris amours
01:56
(Heinrich Isaac ) Brisk Recorder Quartet Amsterdam
11.
Jam pris amours
01:23
(Heinrich Isaac ) Brisk Recorder Quartet Amsterdam
12.
O hoofd
02:32
(Improvisation with Grietje Bijma) Brisk Recorder Quartet Amsterdam
13.
Je pris amor
02:13
(Anonymous) Brisk Recorder Quartet Amsterdam
14.
J'ay pris amours/De tous bien plaine
01:47
(Anonymous) Brisk Recorder Quartet Amsterdam
15.
Estampie
06:49
(Guus Janssen) Brisk Recorder Quartet Amsterdam
16.
De tous biens plaine
01:41
(Anonymous) Brisk Recorder Quartet Amsterdam
17.
De tous biens plaine
01:31
(Hayne-Josquin) Brisk Recorder Quartet Amsterdam
18.
Sporen
02:41
(Improvisation with Grietje Bijma) Brisk Recorder Quartet Amsterdam
19.
Trapped
11:14
(Hans Koolmees) Brisk Recorder Quartet Amsterdam
20.
Bassedanze La Spagna
02:48
(Johannes Ghiselin ) Brisk Recorder Quartet Amsterdam
21.
Wolkje blauw
02:48
(Improvisation with Grietje Bijma) Brisk Recorder Quartet Amsterdam
22.
4 tegen 3
04:06
(Michiel Mesingh) Brisk Recorder Quartet Amsterdam
show all tracks

Often bought together with..

Kerstspel
Nieuw Vocaal Amsterdam / Amsterdam Baroque Orchestra / Ton Koopman

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