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Kees Wieringa - piano

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Dutch Sonatines for piano I

Kees Wieringa - piano
Do records 004

Daniel Ruyneman
Willem Pijper
Piet Ketting
Henk Badings
Robert de Roos

Imagine yourself watching the globe with the musical eye of a listener, and you will see a Sonata sound. Then, zooming in on Holland, the small, outlandish piece of earth's surface where water finds its way in, the Sonatina looms up. A world in itself, with expressive outlines. The Sonatina (literally: small Sonata) is a musical form in which, by using a minimum of means, a maximum expression is achieved. As a painter seeks the experiment in a draft or sketch, the composer allows himself to take risks in the Sonatina form. It can also be a finger exercise for the greater Sonata (Pijper). The Sonatina often has an aphoristic character. It is also characterised by its use for educate purposes (Beethoven), which, compared with the Sonata, accounts for its different level of difficulty. Still, some composers have written Sonatinas as concert-pieces (Ravel).

Thanks to the idea of recording exclusively Dutch Sonatinas on compact disc, it has been possible to collect very unknown (and mutually divergent) composers and compositions. Isn't it marvellous that, after so many years, we can now listen to music by Robert de Roos and Daniel Ruyneman! Or Piet Ketting, a name of great reputation in Dutch music life. He was inspired by Willem Pijper, the composer who developed the Sonatina to high levels. Since Pijper wrote his Sonatinas, many others have followed, sometimes even using the same style and the same keynotes. Ketting is one of them.  

As said, the Sonatina has an aphoristic character. This can be so strong that one part may only take 46 seconds (Piet Ketting), which does not necessarily detract from its expressiveness. On the contrary. The Sonatina forces the composer to throw away all redundancy and to use only the barest essentials. The musical material is reduced to the essence. The listener has to remain concentrated and clear-headed in order to prevent the composition from passing him by completely. In this respect, the Sonatina may be considered as a precursor of the later serial techniques of the fifties and sixties, which excluded repetitions and which forced the listener to stay alert in order to not miss a thing. It is precisely the clarity of composition technique that characterises Dutch composition and it is probably for that reason that Dutch composers have felt so attracted to the Sonatina.

Kees Wieringa: " For me as a pianist, I experience, every time again, the sensation of placing seldom or even never played music on the piano lectern and to discover what the notes sound like. And if the first acquaintance works out well, it is a pleasure to carry on with it. The thought of being one of the few performers who have worked on them forms the basis of my inspiration."

Copyrights: Kees Wieringa

recording_team_004
recording team:
Okke Dijkhuizen - Bert van Dijk - Kees Wieringa

Repertoire

Daniel Ruyneman: Sonatine (1917) (13.14) 'To Evert Cornelis'.
1. in autumn mood (6.32)
2. with a gossamer thin outlining (3.27)
3. forest shudders (3.06)


Willem Pijper: Sonatine no.1 (1917) ( 9.57).
4. grazioso, quasi allegretto (3.09)
5. molto allegro e agitato (3.51)
6. con moto giocoso (3.09
)

Willem Pijper: Sonatine no.2 (1925) (4.37).
7. veloce (1.20)
8. molto sostenuto (1.40)
9. Doppio Movimento (1.45)


Willem Pijper: Sonatine no.3 (1925) (4.16)
10. molto adagio (2.35)
11. allegro non troppo (1.52)

Piet Ketting: Vier Sonatines (1929) Sonatine no.1 (4.36)
12. allegro molto (0.51)
13. adagio (2.15)
14. finale maestoso (1.43)

Sonatine no.2 'Aan Willem Pijper' (3.29)
15. veloce (0.48)
16. lento (1.12)
17. allegro, ma non troppo - vivace (1.37)

Sonatine no.3 (4.05)
18. allegretto (1.43)
19. molto adagio (2.06)
20. allegro (1.23)

Sonatine no.4 (1.48)
21. moderato (0.33)
22. lento (0.46)
23. presto (0.30)

Henk Badings: Sonatine (1936) (6.02) 'Voor Felix'.
24. allegro (2.04)
25. andante (1.58)
26. allegro vivace (1.54)

Robert de Roos: Sonatine (1937) (6.05) 'Aan Theo van der Pas'.
27. con grazia (2.13)
28. adagio (2.19)
29. scherzando (1.28)



This CD has come about with the support of: E.O. Hilversum, Do Foundation - Bilthoven. With thanks to: Board Do Foundation, Centrum Nederlandse Muziek, Haags Gemeentemuseum, Jan Marisse Huizing, Jan Oegema, Moos d'Herripon, Donemus, and Iris Casteren van Cattenburch.

 

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