Programmatoelichting 'Anachronie II'
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Programmatoelichting 'Anachronie II'
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Program notes 'Anachronie II'
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Programmatoelichting 'Anachronie II'
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Elmer Schönberger
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Duration: 12'<br/>For: oboe, 4 horns, harp, piano and strings<br/><br/>Première: January 17, 1970 - Han de Vries, Radio Kamer Orkest cond. Charles de Wolff<br/><br/>The stylistic collages hiding behind the title Anachronie II is certainly compositionally anachronistic, in the sense of being out of harmony with the modernist concept of musical progress, but as an expression of the anti-dogmatic, anti-exclusive spirit of the 1960’s, anachronistic they certainly are not.<br/>The principal citation in Anachronie II is a pastiche of the Italian baroque music so <br/>fashionable in those days (I Musici!), in the form of a miniature oboe concerto. The composer considered Anachronie II in 1969 more a consequence of Anachronie I than a sequel to it.<br/>Although Andriessen dedicated Anachronie II to Erik Satie, the inventor of so-called musique d'ameublement, both works [Anachronie I and Anachronie II], in addition to being "typical Sixties" in their aesthetic attitude, are "typical Andriessen" in their proteanism. Behind the façade of the gentlemen's society named after Charles Ives (the I don't quote, I just recognize myself House) there lurked a merry whorehouse. The 1960’s were "years of pandering" and as such served up to both Andriessen the radical polemic and Andriessen the all-ears anti-purist, on a silver platter, an aestetically believable alibi to go ahead and rewrite musical history. It is telling that Andriessen considered it more the listener's business than that of the composer whether the musical cliché used functioned as commentary or merely enhanced the listening pleasure.<br/><br/>Elmer Schönberger <br/>
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ark:/23946/bfPc8m
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