Agenda

Simeon Ten Holt – Incantatie IV (1987-1990)

The Natalon Quartet & Amstel Quartet

‘Time becomes space in which the musical object starts floating’. Perhaps Simeon Ten Holt (1923-2012) has himself described his work the most accurately. Only a handful of people in the Netherlands will not be familiar with Ten Holt’s compositions for four pianos, of which his minimal masterpiece, Canto Ostinato (1976-1979),has become a true cultural phenomenon. The ‘open space’ that the composer has incorporated into his work, both for performers as well as performance settings, has generated an almost ritual-like environment during concerts.

The later composed Incantatie IV (1987-1990) could, in many respects, be regarded as an expansion on Canto. The composition is hypnotic as well, but also more complex - more restless and stubborn than its lyrical older sibling. What’s more, Incantatie IV leaves room (being the only one in Ten Holt’s repertoire for four pianos) for supplementary instruments. An additional sound experience, giving the already intriguing piece an extra dimension.

To explore this new level, the Amstel Quartet and the Natalon Quartet (specialists in Ten Holt) join forces. The two quartets could be considered as the ultimate counterparts. Not only in their modes of playing, but also in the way that the sound and long dynamics of the saxophone beautifully add up to the piano-infused ‘tone palette’ of Simeon Ten Holt.

Natalon Quartet

Robert Lambermont

Laura Sandee

Petra van Oort

Anna van Nieukerken

Shalygin's epic piece for saxophone octet Todos los Fuegos el Fuego

Keuris Quartet and Amstel Quartet
 
"Devastating, breathtaking. It’s not difficult to point out the most impressive concert in November music. That was the fiery Todos los Fuegos el Fuego, for 8 saxophones by Maxim Shalygin. "
Brabants Dagblad
 
"Endlessly rising clusters, pulsing tone tapestries in a minimalistic cut, poetic-melodic intermezzi, and a quasi-orthodox hymn running aground in a quarter-tone yowl."

NRC

MUSIC WITH CHANGING PARTS

with Amstel Quartet and Laura Sandee & Pascal Meyer keyboards

With Music with Changing Parts (1970), a monumental work from Philip Glass’s early period, Amstel Quartet returns to the meditative and grooving world of hard-core minimalism.

This work, consisting of repeated melodic figures which gradually expand and contract, shares some of the rhythmic, trance-inducing aspects of the earlier Music in Similar Motion.

However, through the addition of subtle vocal parts and long tones improvised at different moments in the piece by the musicians, the music acquires a different dimension and anticipates Glass's opera work of the later 1970s, such as Einstein on the Beach.

Music with Changing Parts

with Amstel Quartet and Laura Sandee & Pascal Meyer keyboards

With Music with Changing Parts (1970), a monumental work from Philip Glass’s early period, Amstel Quartet returns to the meditative and grooving world of hard-core minimalism.

This work, consisting of repeated melodic figures which gradually expand and contract, shares some of the rhythmic, trance-inducing aspects of the earlier Music in Similar Motion

However, through the addition of subtle vocal parts and long tones improvised at different moments in the piece by the musicians, the music acquires a different dimension and anticipates Glass's opera work of the later 1970s, such as Einstein on the Beach.

Het Amstel Quartet en het Natalon Kwartet voeren Incantatie IV van Simeon ten Holt uit op de sterfdag van de componist

Incantatie IV

Dit ruim 2 uur durende werk voor meer toetsinstrumenten wordt gezien als de grootste en meest complexe compositie van Ten Holt. Het wordt uitgevoerd zonder pauze. Ten Holt schrijft over Incantatie IV: “Alle lagen zijn even belangrijk en voeren afwisselend de status van hoofdzaak en bijzaak, van domineren en wijken, van hoofdkleur en bijkleur, van solist en zwijgen.”