Ton Sur Ton by Vlaams Radiokoor

Various composers

Vlaams Radiokoor

Ton Sur Ton

Price: € ~~19.95~~ 13.97
Format: CD
Label: Evil Penguin
UPC: 0608917722024
Catnr: EPRC 0033
Release date: 07 February 2020

old €~~19.95~~ new € 13.97

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1 CD ✓ in stock	€ ~~19.95~~ 13.97	old €~~19.95~~ new € 13.97 Buy

Label
Evil Penguin

UPC
0608917722024

Catalogue number
EPRC 0033

Release date
07 February 2020

"Beautiful is the new CD of the Vlaams Radiokoor (Flemish Radio Choir) in Belgium."

Music Frames, 22-4-2020

Album

Artist(s)

Composer(s)

Press

About the album

For this CD, Vlaams Radiokoor has collected, with the help of their audience, a few of the most beautiful works from the rich choral repertoire. The result is like an exhibition in which singers emerge from silence, painting with music, note upon note, colour upon colour, tone upon tone.

The colour palette seems endless, and each painting tells a story, with abstract notes and sounds, that is serene or restless, that can delight us or, on the contrary, make us sad. The spectrum of emotions is endless.

Voor dit album verzamelde het Vlaams Radiokoor, met de hulp van hun publiek, enkele van de mooiste werken uit het rijke koorrepertoire onder meer van Arvo Pärt, Francis Poulenc en Morten Lauridsen. Het resultaat is als een tentoonstelling waarin de zangers opduiken uit de stilte, schilderen met muziek, noot voor noot, kleur voor kleur, toon voor toon. Het kleurenpalet lijkt eindeloos en elk schilderij vertelt een verhaal, met abstracte noten en geluiden, dat sereen of rusteloos is, dat ons kan verheugen of ons juist verdrietig kan maken. Het spectrum van emoties is eindeloos.

Ambassadeur van de stem

Sinds de oprichting in 1937 is het Vlaams Radiokoor een referentie voor vocale muziek in Vlaanderen en Europa. De stem is de ultieme vertolker van onze emoties, en het Vlaams Radiokoor is een van haar grootste ambassadeurs. Toen het Vlaams Radiokoor werd opgericht waren opnames schaars. Alleen door muziek live op te voeren, kon je ze beleven. Die oorsprong is nog altijd de drijfveer van het Radiokoor. Het koor wil het vocaal erfgoed en de zangkunst bewaren, en er nieuwe elementen aan toevoegen. Door de muziek te zingen, blijft die leven om weer volgende generaties te raken en inspireren.

Nieuwe muziekdirecteur

Vanaf seizoen 2019/2020 is Bart van Reyn de nieuwe muziekdirecteur van het Vlaams Radiokoor. De gedeelde passie voor hedendaags repertoire, het geloof in de stem als ultieme vertolker van emoties, en het streven om het vocaal erfgoed toegankelijk te maken voor zangers en publiek zijn wat ensemble en dirigent verbindt. De dynamische aanpak van Van Reyn, zijn grondige kennis van het repertoire en grote passie voor het métier sluiten perfect aan bij het DNA van het Radiokoor. Samen zullen ze het rijke vocale verleden eren en levend houden door vandaag te werken aan de geschiedenis van morgen: als radar voor nieuwe muzikale en maatschappelijke tendensen, als bewaarder en behoeder van het vocale erfgoed.

Für diese CD hat der 'Vlaams Radiokoor' mit Hilfe seines Publikums einige der schönsten Werke aus dem reichen Chorrepertoire zusammengestellt. Das Ergebnis ist wie eine Sammlung, in der Sänger aus der Stille auftauchen, mit Musik malen, Note für Note, Farbe für Farbe, Ton für Ton.

Die Farbpalette scheint endlos und jedes Bild erzählt eine Geschichte, mit abstrakten Noten und Geräuschen, die ruhig oder unruhig sind, die uns erfreuen oder uns im Gegenteil traurig machen können. Das Spektrum der Emotionen ist endlos.

Artist(s)

Vlaams Radiokoor

The Vlaams Radiokoor (Flemish Radio Choir) was founded in 1937 by the Belgian public broadcaster of the day. Today, the Vlaams Radiokoor is renowned for vocal music in Flanders and Europe, and is counted among the top ensembles both at home and abroad. The 32 singers rehearse under the baton of music director Bart Van Reyn in Studio 1 of the well-known Flagey building in Brussels. A shared passion for contemporary repertoire, the belief that the voice is the ultimate interpreter of our emotions, and the commitment to make our vocal heritage accessible to singers and audiences alike are what binds the ensemble together. The Vlaams Radiokoor is and remains a living portal for repertoire, knowledge, experience and voices. It makes our...

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Bart Van Reyn (conductor)

Composer(s)

Arvo Pärt

Pärt was born in Paide, Järva County, Estonia, and was raised by his mother and stepfather in Rakvere in northern Estonia. He began to experiment with the top and bottom notes as the family's piano's middle register was damaged. His first serious study came in 1954 at the Tallinn Music Middle School, but less than a year later he temporarily abandoned it to fulfill military service, playing oboe and percussion in the army band. While at the Tallinn Conservatory, he studied composition withHeino Eller. As a student, he produced music for film and the stage. During the 1950s, he also completed his first vocal composition, the cantata Meie aed ('Our Garden') for children's choir and orchestra. He graduated in 1963. From 1957 to 1967, he worked as a sound producer for Estonian radio.
Although criticized by Tikhon Khrennikov in 1962, for employing serialism in Nekrolog (1960), which exhibited his "susceptibility to foreign influences", nine months later he won First Prize in a competition of 1,200 works, awarded by the all-Union Society of Composers, indicating the inability of the Soviet regime to agree consistently on what was permissible. In the 1970s, Pärt studied medieval and Renaissance music instead of focusing on his own composition. About this same time, he converted from Lutheranism to the Russian Orthodox faith.
In 1980, after a prolonged struggle with Soviet officials, he was allowed to emigrate with his wife and their two sons. He lived first in Vienna, where he took Austriancitizenship and then relocated to Berlin, Germany, in 1981. He returned to Estonia around the turn of the 21st century and now lives alternately in Berlin and Tallinn. He speaks fluent German and has German citizenship as a result of living in Germany since 1981.

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Samuel Barber

The American composer Samuel Barber is one of the most celebrated 20th-century composers. He was never a part of the musical avant-garde, and wrote instead pieces in a Romantic idiom, characterized by rich harmonies and complex rhythms. His most beloved work is het lyrical Adagio for Strings, an arrangement of the slow movement of his String Quartet, that can be heard in both concerts and films. His Knoxville: Summer of 1915 for soprano and orchestra is also regularly performed.
Barber became interested in music at an early age, and was very talented indeed. At the age of seven he wrote his first composition, a short piece for piano. Two years later he knew that he was meant to be a composer. During his studies he wrote a number of successful compositions which put him into the spotlight of the American musical life. He made his international breakthrough during his travels through Europe in 1935-1936 with his colleague and partner Gian Carlo Menotti.
Barber’s compositions were performed by leading conductors such as Dimitri Mitropoulos, George Szell and Leopold Stokowski. He also received commissions by famous artists and authorities. Barber was commissioned by the Metropolitan Opera to compose a new opera for the opening of its new building in 1966. The premiere of this work, Antony and Cleopatra, was plagued with technical problems that overshadowed Barber’s music. The critics rejected the work, which sent the composer into a depression. After his recovery he continued to compose till the end of his life.

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Kurt Bikkembergs

Frank Martin

Herbert Howells

Herbert Howells studied at the Royal College of Music, London, with Stanford and Wood and taught there himself from 1920 until 1979. He succeeded Holst at the St. Paul’s Girls School and had a professorship at the London University. His music is clearly in the British diatonic tradition, with connections towards Elgar, Walton and Vaughan Williams. Amongst his early works are two piano concertos and chamber music, but his oeuvre mainly consists of choral works, including 15 anthems, a concert requiem (Hymnus paradisi from 1938, first performed in 1950), masses, motets, and several songs. Deeply rooted in the English choral tradition, Howells’ work demonstrates great, precious craftsmanship and a modest, very eloquent personality. (Source:Musicalifeiten.nl)

Herbert Howells studied at the Royal College of Music, London, with Stanford and Wood and taught there himself from 1920 until 1979. He succeeded Holst at the St. Paul’s Girls School and had a professorship at the London University. His music is clearly in the British diatonic tradition, with connections towards Elgar, Walton and Vaughan Williams.
Amongst his early works are two piano concertos and chamber music, but his oeuvre mainly consists of choral works, including 15 anthems, a concert requiem (Hymnus paradisi from 1938, first performed in 1950), masses, motets, and several songs. Deeply rooted in the English choral tradition, Howells’ work demonstrates great, precious craftsmanship and a modest, very eloquent personality.
(Source:Musicalifeiten.nl)

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Maarten van Ingelghem

Rudolf Mauersberger

Morten Lauridsen

Francis Poulenc

Francis Jean Marcel Poulenc was a French composer and pianist. Poulenc's wealthy family intended him for a business career in the Rhone Poulenc family company and did not allow him to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. This group of French composers from the 1920s aimed to clear music of the impressionism of Claude Debussy, and German influences such as the Romanticism of Richard Wagner and Richard Strauss. Their motto was 'L'art pour l'art': they composed music for the sake of...

Francis Jean Marcel Poulenc was a French composer and pianist. Poulenc's wealthy family intended him for a business career in the Rhone Poulenc family company and did not allow him to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. This group of French composers from the 1920s aimed to clear music of the impressionism of Claude Debussy, and German influences such as the Romanticism of Richard Wagner and Richard Strauss. Their motto was "L'art pour l'art": they composed music for the sake of music, without any 'meaning' or extramusical intents. In his early works Poulenc became known for his high spirits and irreverence. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works.

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