"Tales of Song of Sadness" is a double tribute from the Orchestra of the Eighteenth Century and Cappella Amsterdam, commemorating the demise of Frans Brüggen and Louis Andriessen, two giants of Dutch music culture. The album also documents the unique entanglement of early and contemporary music pioneers in post-war Netherlands, whose influence stretched far beyond national borders. The centerpiece of this program is Andriessen’s May, commissioned by the musicians of the orchestra to commemorate the death of Brüggen, eventually turning out to be that composer’s swan song as well. It is flanked by other Andriessen works for choir, orchestra, and recorder, respectively, as well as excursions into early music by Josquin des Prez, Thomas Preston, Jacob van Eyck, and Jean-Philippe Rameau.

Cappella Amsterdam and Daniel Reuss have released In Umbra Mortis (Rihm & de Wert, 2021, awarded an Edison Klassiek Award), David Lang’s The Writings (2022), and Schnittke’s Psalms of Repentance (2023) on PENTATONE. This is the first time that recordings of the Orchestra of the Eighteenth Century, Sour Cream, and Frans Brüggen appear on PENTATONE.

Classical Music

Although much of the music of the Dutch composer Hendrik Andriessen (1892-1981) has now been explored in recordings, his works for piano largely remain to be discovered. This first conspectus of his piano music covers fifty years of composition, showing how early influences - among them Bach, Brahms, Franck, Hindemith and Ravel - were subsumed into a musical language distinguished by it's textural clarity and harmonic warmth. Five of the works on this release are receiving their world premiere recording. Jacob Nydegger, a native of Texas, studied with Blanca Rodriguez, winning first prize at the seventeenth annual Petroff Piano Competition and receiving the Outstanding Perfomer award at Texas State Solo and Ensemble Contest in 2012 and 2013. Since then he has studied under Seth Carlin at Washington University in St. Louis, and he currently studies with Joseph Banowetz at the University of North Texas.

Harpsichord Recital: Willi, Barbara Maria - BACH, J.S. / COU

Today Hendrik Andriessen is primarily known as the composer of some magnificent works for the organ, a few choral works mainly performed by amateur choirs, and some masses for the Roman Catholic service. In reality, Andriessen was for many decades a driving force in the Netherlands, as a versatile composer, a performing musician, a much loved teacher, the author of articles and books on music, the director of the Conservatories of Ultrecht and The Hague, and finally as a professor of musicology at the Catholic Univeristy in Nijmegen. Within a time span of some seventy years he has written a large oeuvre of instrumental and vocal works, from symphonies to songs, from masses to operas, from chamber music to organ works. The Netherlands Symphony Orchestra is the symphonic orchestra of the Province of Overijssel. This orchestra from Enschede performs with passionate dedication and virtuosity, and its broad, varied, and always exciting programs have earned it a firm place in this region and beyond. With its employmen tof historical instruments instead of modern ones in the performance of classical works, the ensemble has distinguished itself both in its immediate environment, throughout the Netherlands, and in foreign countries as a unique cultural ambassador on behalf of the Province of Overijssel.

Dutch composer Louis Andriessen turned minimalism upside down in the 1970's with his radical musical responses to American experimentalists Reich, Riley and Glass. He challenged these composers' trance-like states with a European sense of edginess and angularity, and the results are exciting and overpoweringly aggressive. Hoketus - the lankmark of European minimalism - takes its name from the medieval art of hocketing, splitting a single melody between two groups of instruments separated in space. Earth-shattering and tribal in its elemental power, Andriessen describes this piece as a 'Gigantic Dancing Human Machine'. Its recording is an international collaboration of the Bang on a Can All-Stars, members of London's Icebreaker ensemble, and musicians from Andriessen's own group. Workers Union and Hout both generate high-voltage energy out of wild unison melodies and rhythms. the Bang on a Can All-Stars have worked closely with Andriessen over the past 10 years, bringing to these works their intense dedication and extreme musicality, and performing them all over the world.

An exciting start to a new orchestral collaboration for Signum Records, this disc is the first of a new series with the London Sinfonietta - one of the world's elite contemporary music ensembles with a reputation built on the virtuosity of its performances and ambitious programming. This live recording brings together the UK premiere of Anaïs Nin, a new work for soprano and small ensemble, alongside his famed work De Staat. Anaïs Nin is a monodrama based on the diaries of the same famed author, as well as those of her lovers (Antonin Artaud, René Allendy, Henry Miller and her own Father). A sometimes disturbing tale of desire and passion, Andriessen felt that the music should "closely track the irony, despair and passion of this brilliant, many-sided woman". ' ... [Anaïs Nin's] resonance is profound and disturbing. By pairing it in concert with an invigorating performance of Andriessen's early masterpiece, De Staat, whose concern with the individual body and the body politic bears strong parallels, the Sinfonietta showed the Dutch composer at his searching best.' Guy Dammann, The Guardian (Review of the concert from which this recording was made)

The opulent soundworld of a Dutch late-Romantic master, still too little known outside his native country. Rarefied spirituality and refined sensuousness are the hallmarks of Hendrik Andriessen's (1892-1981) idiom, which offers an ethereal synthesis of Franckian chromaticism with an individual interpretation of classical forms and church modes. Though he trained as an organist, his writing for other solo instruments is fluent and idiomatic. The concertos for violin, cello and oboe share the silken textures of his better-known orchestral music, and this album won glowing reviews when first released in 2000. The album’s headline work is Miroir de peine, a languorous song-cycle to Henri Vangeon’s poems of religious ecstasy describing the suffering of Christ from the perspective of the Virgin Mary. It has attracted the advocacy of great sopranos from Elly Ameling to Christiane Stotijn. This 1991 recording by Roberta Alexander won an enthusiastic welcome from the critics for the poise and beauty of her performance and the richness of the engineering. Andriessen esteemed Franck as ‘a musical philosopher in the truest sense of the word,’ who drew ‘intense sentiments from the intuitive side of his genius into an orderly gestalt.’ Much the same could be said of Andriessen’s own idiom throughout his career, as this half-century retrospective over his career confirms, from the solemn lushness of Magna res est amor of 1919 to the Chromatic Variations and Cello Concertino of 1970. The Violin Concerto (1968-9) is still essentially couched in a Romantic vein, but shaded with more 20th-century accents of tonal anxiety, akin to Vaughan Williams and Casella in the 1930s. Any listener for whom conservatism is not a dirty word will relish becoming acquainted with Andriessen’s powerful expressive voice in these beautifully prepared and engineered performances.