Louis andriessen de staat witch

Louis Andriessen&#;s De Staat with Asko|Schönberg

With De Staat (), Louis Andriessen wrote music for eternity. This highly personal mix of Stravinsky, American minimal, European avant-garde and jazz caused a shockwave in the international music world. Asko|Schönberg pairs this politically charged work with a brand new work by Oscar Bettison. Bettison studied with Andriessen and is composer in residence with Asko|Schönberg this season.

Andriessen was inspired by minimal music when composing De Staat, but applied minimalism in his own completely unique way. Bettison wrote his piece for the same instrumentation as De Staat. He sees his work as a “nocturnal wonderland”. A group of pianos, harps and guitars form the core in the middle of the stage, while some musicians change position. The singers spur on the brass and invoke the night.

Extra: the state of De Staat
Louis Andriessen wrote De Staat as a reflection on the relationship between music and politics. As a result,
Asko|Schönberg, Gaudeamus, Musica Festival (Strasbourg), Ensemble Klang and Muziekgebouw aan&#;t IJ invited seventeen very diverse and surprising European composers and artists to make their personal re

In de jaren ’70 schreef Louis Andriessen het meesterwerk De Staat. Als muzikaal en politiek rebel gaf hij met deze compositie een kritisch signaal af. Hij verzette zich tegen het gevestigde muziekleven en tegen het symfonieorkest in het bijzonder. Dit alles geheel in lijn met de sociaal-politieke strijd die toen op meerdere fronten gevoerd werd. Met De Staat leverde hij een bijdrage aan de discussie over de plaats van muziek in de politiek. Dit thema is ook nu nog actueel en vormt het uitgangspunt van het programma De Staat.

 

Programma
Asko|Schönberg organiseert samen met Gaudeamus Festival, Ensemble Klang, Muziekgebouw en Musica Festival Strasbourg het programma De Staat. Naast het gelijknamige, niet vaak live te horen werk van Andriessen, staat een gloednieuwe compositie van Oscar Bettison op het programma. Hij studeerde ooit bij Andriessen en is dit seizoen onze Composer in Residence. Zijn On the slow weather of dreams schreef hij in opdracht van Asko|Schönberg.
Componisten en kunstenaars uit verschillende landen reflecteren vanuit hun eigen achtergrond op De Staat en op het thema ‘de invloed van de staat’. Dat doen ze in de vorm van installaties, muzi

I wrote De Staat(The Republic) as a contribution to the discussion about the place of music in politics. To keep the issues straight it is necessary to differentiate between three aspects of the social phenomenon called music: 1. Its conception (devising and planning by the composer), 2. Its production (performance) and 3. Its consumption. Production and consumption are by definition if not political then at least social. The situation is more intricate when it comes to the actual composing. Many composers feel that the act of composing is 'suprasocial'. I don&#;t agree. How you arrange your musical material, what you do with it, the techniques you use, the instruments you score for, all of this is determined to a large extent by your own social circumstances, your education, environment and listening experience, and the availability&#;or non-availability&#;of symphony orchestras and government grants. The only point on which I agree with the liberal idealists is that abstract musical material&#;pitch, duration and rhythm&#;is suprasocial: it is part of nature. There is no such thing as a fascist dominant seventh. The moment the musical material is ordered, however, it becomes

About this Piece

A breakthrough work for Andriessen, De Staat had its premiere in Amsterdam in November It synthesized his characteristic sound world and socio/political concerns with his response to American Minimalism in a powerful work that brought him international recognition. The composer provided the following note in

"I wrote De Staat (The Republic) as a contribution to the debate about the relation of music to politics. Many composers view the act of composing as, somehow, above social conditioning. I contest that. How you arrange your musical material, the techniques you use, and the instruments you score for, are largely determined by your own social circumstances and listening experience, and the availability of financial support.

"I do agree, though, that abstract musical material - pitch, duration, and rhythm - are beyond social conditioning: it is found in nature. However, the moment the musical material is ordered it becomes culture and hence a social entity.

"I have used passages from Plato to illustrate these points. His text is politically controversial, if not downright negative: Everyone can see the absurdity of Plato's statement that the Mixolydian

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