Jan Van Gilse - Piano Concerto, "Three Dance Sketches" (1926)

Jan Pieter Hendrik van Gilse (Rotterdam, 11 May 1881 - Oegstgeest, 8 September 1944) was a Dutch composer and conductor. Among his works are five symphonies and the Dutch-language opera Thijl.
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Drei Tanzskizzen für Klavier und kleines Orchester (1925-1926)
1. Tempo di menuetto moderato (00:00)
2. Hommage à Johann Strauss (10:33)
3. In modo di tango (28:36)
Oliver Triendl, piano and the Netherlands Symphony Orchestra conducted by David Porcelijn
Jan van Gilse was a Dutch composer. He studied composition and conducting with Franz Wüllner at Cologne University (1897--1902). In 1902 he was awarded a prize for his First Symphony by the Beethoven Haus in Bonn. After studying with Humperdinck at the Akademische Meisterschule in Berlin, he worked as a conductor at the Bremen Opera, then at the Noord-Nederlandsche Opera in Amsterdam. In 1909 his Third Symphony was awarded the Michael Beer prize, which enabled him to work and study in Italy for two years. Afterwards he settled in Munich. During World War I van Gilse and his family returned to the Netherlands, and in 1917 he was appointed conductor of the Utrecht SO, with whom he gave many performances of works by contemporary French and Dutch composers. A conflict with the young Dutch composer Willem Pijper led to his resignation in 1922. After a short stay in Switzerland van Gilse settled in Berlin, where he started work on his autobiography (MS, NL-DHgm). He returned to the Netherlands, where he was appointed principal of the Utrecht Conservatory. In 1937 he resigned his position in order to devote himself to composition. In 1940 he completed his opera Thijl, based on the story of Tijl Uilenspiegel. After the Germans invaded the Netherlands in May 1940, van Gilse publicly opposed the banning of Jews from concert halls. After organizing a petition in protest against the Nazification of Dutch artistic life, he was accused of high treason and went into hiding. During this period his two sons, also active in the resistance movement, were killed by the Nazis. Van Gilse could not cope with his grief and died after a short illness.
In addition to his work as a composer, van Gilse played a role in founding institutions designed to promote the interests of Dutch composers: the Genootschap van Nederlandsche Componisten (1911), the Bureau voor Muziek Auteursrecht (BUMA, the composers' performing rights society, 1913). In 1935 van Gilse founded the Stichtung Nederlandsche Muziekbelangen to promote the performance of Dutch music. The foundation's archive containing microfilms of Dutch music manuscripts became, after van Gilse's death, the basis of the publishing house Donemus (founded in 1947).
Van Gilse took a relatively long time to develop a personal style as a composer. His German training, and the music of Mahler especially, left its mark on his early works up to 1916. Those written during and shortly after his years in Utrecht (1917--1922) testify to his intensive study of the works of French composers such as Debussy, Ravel and Roussel, particularly in their use of short motifs, augmented chords, parallel harmonies and their striving after colourful, transparent orchestration. From these German and French influences, a synthesis gradually developed, culminating in the cantata Der Kreis des Lebens (1928--1929), the opera Thijl (1938--1940) and the unfinished declamation Rotterdam (1942). In these three works van Gilse achieved an individual style, which rejects the anti-Romanticism of the French-style works. In Rotterdam and Thijl he makes use of elements from folk music.

[@andrewpetersen5272]

Great composition. Great composer. Great upload. Thanks!

[@notaire2]

Wunderschöne und lebhafte Interpretation dieses einzigartig konstruierten und humorvoll komponierten Konzerts mit klarem doch elegantem Klang des genialen Soloklaviers sowie farbenreichen doch perfekt entsprechenden Tönen der anderen Instrumente. Der intelligente und erfahrene Dirigent leitet das hoch funktionelle Orchester im veränderlichen Tempo und mit effektiv kontrollierter Dynamik. Wahrlich hörenswert!

[@jan-olofpohlin8667]

Another new revelation. Skillfully composed with much humour. I'm looking forward to listen to his other works. Also brilliant played of soloist, conductor and orchestra.

[@steveegallo3384]

@jan-olofpohlin8667 -- Well-said.....BRAVO from Acapulco!

[@jan-olofpohlin8667]

@@steveegallo3384 Thank You. It's sad to see so many forgotten composers. Thanks to internet and the Tube you will find good music you otherwise never heard. Jan-Olof from Borås Sweden

[@bartjebartmans]

KZbin and the internet are tools, they don't upload. It is creators like me.

[@jan-olofpohlin8667]

@@bartjebartmans Yes off course. I'm grateful for you and other creators. But internet and the Tube also enables all creators to spread out good unknown music to people around the world.

[@chesnochelllasaymon8216]

WOW!!! Super! Horn solo very beautiful, cool music, harmony’s!!! Thank you for your job!!! Your channel the best!!!

[@carlose.johansson739]

This is very beautiful enjoyable and "high". Really like it! Wonderful work!

[@SisselOnline]

wow what an interesting work

[@nellind1]

Festive but sophisticated and powerful music.

[@christophedevos3760]

Behoorlijk gratieuze muziek, met een vleugje Chabrier/Ravel/les Six. Bedankt voor de revelatie.

[@christophedevos3760]

En zulke optimistische muziek in schril contrast met een tragische levensloop blijkbaar. Hoe jammerlijk.

[@frankzhou3529]

Where did you get the score? I've been searching for Van Gilse's works online, but only found his trio.

[@bartjebartmans]

you can find it here: www.muziekschatten.nl/ You have to be a member to download the score. But it is well worth it, as there is quite some interesting music on that site.

[@smashissocool65]

Suggestion: You should do Ma Vlast by Bedrich Smetana

[@bartjebartmans]

Is already done.

[@smashissocool65]

@@bartjebartmans i cant find it

[@bartjebartmans]

Here it is kzbin.info/www/bejne/Z2rTYp2Iit2tZqM

[@smashissocool65]

@@bartjebartmans i see

[@TempodiPiano]

is this neoclassic?

[@bomcabedal]

Not really. Van Gilse's early work is very German-inspired, this is from a later phase when he began to write more individual stuff (the Canata Das Kreis des Lebens is another example) taking in French influences of the time. His final style (such as shown in his opera Thijl) is more individual still, but I would never call it neo-classical.