gerelateerde werken
Les Sept Poèmes d'amour en guerre : for voiice and piano / Marjo Tal; on words by Paul Éluard
Genre:
Vocaal
Subgenre:
Zangstem en piano
Bezetting:
zang pf
Voor een dag van morgen : voor lage zangstem en piano / tekst van Hans Andreus, Jan Felderhof
Genre:
Vocaal
Subgenre:
Zangstem en piano
Bezetting:
low pf
Die wandeler : voor tenor en piano, 1960 / Gerard Kockelmans
Genre:
Vocaal
Subgenre:
Zangstem en piano
Bezetting:
ten pf
Liederen op Zuid-Afrikaanse tekst : voor hoge stem en piano, 1966 / Wolfgang Wijdeveld
Genre:
Vocaal
Subgenre:
Zangstem en piano
Bezetting:
high pf
compositie
Les Sept Poèmes d'amour en guerre : for voiice and piano / Marjo Tal; on words by Paul Éluard
Overige auteurs:
Eluard, Paul
(Tekstdichter/librettist)
Leo Smit Stichting
(Samensteller)
Tal, Marjo
(Componist)
Bevat:
Un navire dans tes yeux
Jour de nos yeux mieux peoples
La source coulant douce et nue
C’est une plante qui frappe
Le coin du coeur disaient-ils gentiment
Nous ne vous chantons pas trompettes
Au nom du front parfait profond
Toelichting:
The series 'Forbidden Music Regained' proudly presents works by composers who were persecuted during the Second World War. Performances of these works were forbidden during the war. Many composers were imprisoned, several did not survive and others went into hiding.
After the war a new generation took over. The pre-war composers were soon forgotten and their compositions remained hidden in closets and archives or fell otherwise into oblivion. In recent decades numerous works have been rediscovered through the efforts of the Leo Smit Foundation. Some scores were found in attics, others in a garden shed and a pile of music was found by young children next to a garbage can. These compositions are of a high quality and deserve to be performed again. The diversity of styles represents the entire spectrum of the first half of the Twentieth century: romanticism, impressionism, modernism, neoclassicism, jazz, and so forth. This project aims to encourage musicians, young and old, from across the globe to perform these compositions, and for concert audiences to (once again) become acquainted with this “unheard” music.