componist
Lex van Delden (Alexander Zwaap) is als componist autodidact. Zijn hele werkzame leven is hij muziekredacteur bij Het Parool. Vrijwel al zijn composities tot 1945 gingen verloren tijdens de Tweede ...
gerelateerde werken
Genre:
Orkest
Subgenre:
Twee of meer verschillende solo-instrumenten en orkest
Bezetting:
2222 2000 timp perc str vl-vla-cb-solo
Heu domine : voor koor, soli, strijkorkest en slagwerk, 1990 / Wilfred Reneman
Genre:
Vocaal
Subgenre:
Gemengd koor en orkest
Bezetting:
sopr ten GK4 perc str
Genre:
Vocaal
Subgenre:
Gemengd koor en orkest; Gemengd koor en HaFaBra; Elektronica en zangstem(men) met of zonder instrument(en)
Bezetting:
6recit sopr alt ten bas 2GK4 MK4 6rec 2222 4330 perc hp 3org str wind-band: 1131 3sax 1202 3crt barh euph perc cb
Genre:
Vocaal
Subgenre:
Gemengd koor en orkest
Bezetting:
GK4 2221 2220 timp perc pf str
compositie
De Vogel Vrijheid: Oratorium in drie delen : voor baritonsolo, sopraansolo, kinderkoor, gemengd koor en orkest / Lex van Delden; text Jan Willem Schulte Nordholt
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.