Willem Hiele

Schubert composed his first five symphonies while still a teenager, but they represent just one facet of his prodigious fluency. At this time some of his musical ideas bear a family resemblance to certain themes from Mozart, Haydn and Beethoven, but already his own musical character is evident. He began his Second Symphony in December 1814 and had finished it by March 24th of the following year. He completed the Fourth Symphony in about three to four weeks during April 1816. We should not read too much into the Fourth Symphonys Tragic appendage, added by Schubert as an afterthought. It may be merely an example of the flippant comments which he wrote on some of his youthful scores, but nevertheless the symphony has more gravitas than its predecessors. Schubert also includes a second pair of horns to enrich the texture. Actually, this is the only piece of non-programmatic music to which he gave a descriptive title. After completing the symphonic cycles of Beethoven and Mendelssohn, Jan Willem de Vriend now undertakes Schuberts complete symphonic output. This is the first volume in that series.

“Jan Willem de Vriend oversees a joyful account of Bach's festive music with light-footed responses to dance rhythms. I can whole heartedly commend this issue for its expressive warmth, its disciplined choral singing and its natural declamation.”

Willem Breuker Kollektief - A Paris & Summer Music (1978) {EPM-FD Music FD152012}
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© 1978, 1993 EPM / FD Music / Marge | FD152012
Jazz / Contemporary Jazz / Experimental Big Band / Avant-Garde Jazz

A great Parisian recording from the legendary Willem Breuker – pulled from the most inventive years of his legendary group of Dutch avant musicians! The set captures the maestro at his best – working with a classic lineup of the Kollektief that includes Leo Cuypers on piano and vocals, Maarten Van Norden on saxes, Boy Raayamkers on trumpet, and some great drum work from Rob Verdurmen – all holding together beautifully with the offbeat mix of modern and traditional elements that Breuker used in his music. The sound of the album is surprisingly strong at times – especially on the straighter tracks, which groove along in a rhythmic mode, then break out for some solos that really go to town – and the whole thing's also handled with a fair degree of wit, as you'd expect from Breuker.

Olivier Messiaen - Organ Works Complete - Willem Tanke (2007) [8CD Box Set] {Brilliant Classics}
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© 2007 Brilliant Classics | 8639
Classical / Organ / Modern Classics

Remastered edition of Messiaen Complete Organ Works by Willem Tanke. Messiaen's organ works are a climax of 20th-century music, and Willem Tanke captures superbly their deep spiritual intensity, rivalling renderings by more well-known organists like Jennifer Bate and Gillian Weir. Take your time listening to the CDs: you will relish the music best if you spread the enjoyment out over a period of time. I always think of Messiaen as a composer whose pieces are threshholds into something beyond. The organ is particulary adept at opening the door. It's power and majesty and mystery as an instrument on its own does that, but Messiaen takes us to the edge of places no one else does. I have heard some of these pieces before, but hearing the entire body all together is overwhelming. It takes something which was already big and makes it bigger. These performances are more than worth your time to listen.

Willem Breuker Kollektief - Hunger! Thirst! Misery - The Complete Trilogy (2003) {Limited Edition Boxset BVHAAST 0502}
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© 2003 BV Haast Records | BVHAAST 0502
Jazz / Contemporary Jazz / Experimental Big Band / Avant-Garde Jazz

AllMusic Review "Hunger" by Steve Loewy: This version of the Willem Breuker Kollektief includes highly entertaining vocalist Loes Luca on four of the 13 tracks. As with so many of the recordings by this orchestra, there is a mixture of Breuker originals and an eclectic sample of tunes from a variety of genres. "Yes, We Have No Bananas" is given a unique treatment, with vocals from Breuker, a ukulele solo by trumpeter Boy Raaymakers, and a delightful singing saw exposition by Lorre Lynn Trytten.