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Het Ruysdael Kwartet
Bebop vs. Impressionisme - Strijkkwartetten van Louis Andriessen en Maurice Ravel

Het Ruysdael Kwartet
Bebop vs. Impressionisme - Strijkkwartetten van Louis Andriessen en Maurice Ravel

Het Ruysdael Kwartet
Bebop vs. Impressionisme - Strijkkwartetten van Louis Andriessen en Maurice Ravel

Sun, 2 April 2017 | 20:30 hour

Tickets

Sun, 2 April 2017 | 20:30 hour

Door tickets: € 16.00
Presale: € 16.00
Students (upon presentation of college ID): € 5.00
CJP: € 12.00
Splendor members: € 12.00

Tickets

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Programme

Louis Andriessen (1939- )Facing Death (1990)
“In 1989 when I was teaching in Buffalo, Miles Davis Autobiography was published. While reading it, I suddenly knew what the subject should be of my piece for the Kronos Quartet early be-bop licks and especially the work of Charlie Parker. I wanted to do the impossible be-bop is not at all idiomatic for string instruments. But be-bop had been an important influence on my musical development when I was young, and I decided to do something with this music from my youth. Basically the essence of Charlie Parkers playing is the extremely high tempo. This high tempo is really high, because the playing is based upon the chord structure of existing melodies, which sometimes are played two or three times as fast as normal. Parker needed speed to express what he musically felt: little time was left for him. This is the main explanation of the title of the work. In the beginning of Facing Death, I literally quote fragments of Charlie Parker improvisations. I also quote one original melody: Orinthology (which is based on How High the Moon). The 7th and 8th bar of Orinthology became an important motif in the piece. The whole composition is one long development in Parkers fast tempo.” Louis Andriessen

Maurice Ravel (1875-1937) String Quartet in F Major (1903)
Ravels only string quartet was completed in 1903 at the age of twenty-seven while he was still a student at the conservatory, and was dedicated to his teacher Gabriel Fauré who had proven to be a sensitive and sympathetic mentor. Claude Debussy had written his sole string quartet nine years earlier and the influence both of Debussy and Fauré are evident in Ravels quartet iridescent pizzicato, trill effects, passages instructed to be played on the fingerboard, thematic cross-references between movements, and influences from the Far East. Regarding the similarities, Ravel was quoted as saying, For Debussy the musician and man, I felt a profound admiration, but I differ from him by nature. Whereas Debussy made prominent use of musical colors and textures, Ravels music remained somewhat closer to traditional structure and thematic development while he experimented with individualized harmonies.

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