gerelateerde werken
Divertimento : for piano four-hands / Leo Smit
Genre:
Kamermuziek
Subgenre:
Piano 4 handen
Bezetting:
pf4h
Symphonie no. 7 : Dithyrambes pour les temps à venir, 1963-1965 / Matthijs Vermeulen
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
2fl(pic) 2fpic 2ob 2ob(eh) 2cl(pic) 2cl cl-b 3fg cfg sax-a 4h trp-p 3trp 3 trb tb 2timp 5perc cel 2hp str
De negen symfonieën van Beethoven : voor promenade-orkest en ijscobel / Louis Andriessen
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
2fl 2ob 2cl 2fg 4h 3trp 3 trb timp 2perc pf el.g g-b str
Suite voor kamerorkest : (1935) / Oscar van Hemel
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
2200 0000 pf str
compositie
Suite : for orchestra / Leo Smit; free arrangement and orchestration by Godefroid Devreese and Bob Zimmerman
Overige auteurs:
Devreese, Godefroid
(Arrangeur)
Leo Smit Stichting
(Samensteller)
Zimmerman, Bob
(Arrangeur)
Smit, Leo
(Componist)
Bevat:
Prélude (c. 3‘): Bob Zimmerman
Forlane (c. 3‘): Godefroid Devreese
Rondeau (c. 4’15"): Godefroid Devreese
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.