Music of the Netherlands
From Wikipedia, the free encyclopedia
- For Renaissance music from the Low Countries, see Franco-Flemish School.
The Netherlands has multiple musical traditions, mostly related to nearby German and Belgian forms. Immigrants from Africa and the Middle East have also had a profound effect. Much more so than most non-English speaking European countries, the Netherlands has remained closely in tune with American and British trends.
Contents |
[edit] Rock and popmusic
Pioneers of Dutch rock were the so-called Indo-Rock bands from the late 1950s, like The Tielman Brothers and the Blue Diamonds. They played rock guitar instrumentals when most of the Netherlands's youth had hardly heard of rock 'n' roll. They stemmed from the Indonesian community in The Hague and were pivotal in earning that city the title of Beatstad ('Beat city') in later years. With 60s bands like Golden Earring and Shocking Blue, and Kane and Anouk in the 90s, The Hague became synonymous for main stream rock.
More progressive music emerged in the 1960s in Amsterdam. In 1964 (see 1964 in music), The Outsiders were the first Dutch psychedelic rock band to become successful. Well known was the 'Haagse Scene' - many of the popular bands of the 60s came from The Hague, such as Shocking Blue, which topped the US charts in 1970 with Venus, Golden Earrings, Q65, the Motions, Earth & Fire. Other representatives from this period: the Cats, Tee Set, Bintangs, Sandy Coast, Cuby & the Blizards and Brainbox.
George Baker acquired international fame with the songs Little Green Bag (1969), and "Una Paloma Blanca" (1975).
From the late 1960s the post war generation gained political influence. Many state subsidised rock venues opened all over the country. These clubs, like Amsterdam's Paradiso and Melkweg, were stepping stones for many alternative rock bands on their first European tour and the Dutch crowd stayed well informed about new British and American acts.
In the 70s some artists stood out. Herman Brood became the ultimate Rock 'n Roll icon. He even scored a hit in the US with Saturday Night. He became the epitome of the "rock'n'roll junkie" he sang about. As an artist he was in the media until his suicide in 2001. Other bands from the 70s: Gruppo Sportivo, Massada, Vitesse, Solution, the Nits and still Golden Earring with their greatest hit ever: 'Radar Love', also Top10 in the US.
The 80s gave many one hit wonders and some bands that lasted longer. Female band Dolly Dots, disco bands Spargo and Time Bandits (band) were most successful. Together with the Golden Earring, which scored some of their biggest hits with 'Twilight zone' and 'When the lady smiles'. Urban Dance Squad was a cross-over band, combining hip-hop with funk and rock. The band's minor American success proved to be influential. Their music style (rapcore) influenced bands like Rage Against the Machine.
The 90s produced international hits like 2 Unlimited, 2 Brothers On The 4th Floor, and Vengaboys. However, the 90s was also the start of the dj-era. Ferry Corsten, DJ Tiësto , Armin van Buuren, DJ Jean and Bart Claessen started their carreers in the 90s and became the stars of their era.
[edit] Electronic music
In the early 90's, Dutch DJ's developed a style of techno music called gabber. The style was developed in reaction to the commercialization of house music and was heavily influenced by early hardcore from Frankfurt and New York. The DJ's stripped the music of what they perceived as excess sounds, Songs were reduced to a high-speed monotonous beat, of sometimes over 260 beats per minute. One of the tracks often cited as the first gabber track is "Yaaaah" by Amsterdam-based D-Shake. He was also to be the first to use the term gabber in a 1990 Dutch tv program. Important gabber groups and DJ's are the Rotterdam Terror Corps, the Dark Raver and Neophyte. Gabbers distinguish themselves through hair (bald heads) and clothes (Australian and Cavello). Nowadays, gabber is usually called hardcore. Gabber also spawned happy hardcore, a commercial offshoot of gabber. Important groups and DJ's in happy hardcore include Charly Lownoise and Mental Theo, Party Animals and Flamman & Abraxas.
The Netherlands has also spawned many Eurodance acts, such as 2 Unlimited, Alice Deejay, the Venga Boys, the Two Brothers on the 4th Floor and Twenty Four Seven. Many of the world's top trance DJ's are Dutch, such as DJ Tiësto, Ferry Corsten and Armin van Buuren. Many foreign DJ's live in and operate from the Netherlands. Drum and bass is also popular in the Netherlands, artists including Noisia and Black Sun Empire.
The Dutch have through the years also made quite a reputation for themselves with their booming underground scene. A multitude of small independent recordlabels, event organisations and artists have cropped up through the years. Artists such as Speedy J, the Acid Junkies, Orlando Voorn, Miss Djax, Unit Moebius, and I-F all gained international recognition, paving the way for several new electronic artists from the Lowlands.
[edit] Pop music in Dutch language
Many Dutch artists have become popular by singings songs in their own language. It started with Peter Koelewijn in the late 50s, the first to sing Rock and Roll in Dutch. In the 60s it was mainly Boudewijn de Groot - to this day extremely popular. In the 70s there were many performers, of which Rob de Nijs stood out. The 80s were for André Hazes and less Koos Alberts. The 90s were dominated by Marco Borsato. Other well known names throughout the years were Jan Smit, Frans Bauer, Gordon, Guus Meeuwis and René Froger.
In addition, there is a large group of bands that compose en perform pop and rock songs in the Dutch language. That started in the 70s with Polle Eduard, Bots and Normaal - which sang in dialect. Late 70s and early 80s there was a big boom of bands that used the Dutch language in their songs. Well known representatives from that period: Doe Maar, Het Goede Doel, Frank Boeijen Groep and Toontje Lager, and during the late 80s De Dijk, Scene and Tröckener Kecks. In the 90s there was a second boom Acda en de Munnik, Bløf, Van Dik Hout and IOS.
[edit] Rap
Several Dutch groups have played an important role in the development of rap and hiphop in the Netherlands. The Urban Dance Squad, led by Rude Boy (who later also played with Junkie XL), produced an original mix of rock and rap, laying the foundation for the nu-metal hype of the late 90's and early 00's. The Osdorp Posse were the founders of Dutch rap or nederhop. Their frontman, Def P (Pascal Griffioen), switched from English to Dutch in 1988, which made him the first to rap in Dutch. That year, Def P, IJsblok, King and Seda formed the Osdorp Posse. Over the years, they explored all sides of hiphop, from poetic hiphop to politically engaged hiphop. They introduced several Anglicisms in the Dutch language, such as moederneuker ("motherfucker"). Other important Dutch rappers are Extince (Peter Kops), Brainpower (Gert-Jan Mulder), Opgezwolle, Spookrijders, Moordgasten, D-Men, Polderkartel, Ali B (Ali Bouali), Lange Frans & Baas B and Def Rhymz (Dennis Bouman). Currently, Nicolay is one of the leading hip hop producers to come out of the region.
[edit] Punk
Ivy Green was among the first punk bands, originating from Hazerswoude.
Tedje en de flikkers, a group of homosexuals ("flikkers" is Dutch language for "faggots") from Nijmegen, was without doubt the most infamous punk formation of the Netherlands. They sprang from the left wing and gay movements that thrived in Nijmegen during the 70's and 80's. Their provocative performances (politically more than musically) often literally resulted in orgies of sex, drugs and noise. They existed only for three years (1977-1980).
The Ex is an Amsterdam group of musicians making something that could be called punk. De Heideroosjes is also a well-known Dutch punk rock group, singing in Dutch, English, German and dialect.
[edit] Symphonic Rock and Hard Rock
The Netherlands are also known for symphonic metal bands such as Within Temptation, The Gathering, After Forever and Epica. They became successful in the late 90's and in the beginning of the new millennium. However, a band like Kayak was already successful in the 70s and scored hits like 'Ruthless Queen'.
Similar, in the last decade of the previous century a more extreme variety of metal, death metal, have had some success. Bands like Pestilence, Asphyx and Sinister were well-known both in and outside Europe. At the present, bands like God Dethroned, 'Pyaemia' and 'Severe Torture' enjoy a similar status.
In the 80s Vandenberg was internationally successful.
[edit] Jazz
Famous Dutch jazz musicians include Rita Reys, Pia Beck, Misha Mengelberg, Han Bennink, Willem Breuker, Erik van der Luijt, Hans Dulfer and his daughter Candy Dulfer, and Ilse Huizinga.
The North Sea Jazz Festival attracts artists from international acclaim.
Misha Mengelberg (born June 5, 1935) is a jazz pianist and composer. He was the pianist on Eric Dolphy's last album, Last Date (1964). Also featuring on that record was the drummer Han Bennink, and together with Piet Noordijk they formed a quartet which had a number of different bassists. They played at the Newport Jazz Festival in 1966. In 1967 he co-founded the Instant Composers Pool, an organisation which promoted avant garde Dutch jazz performances and recordings, with Han Bennink and Willem Breuker.
Mengelberg has played with a large variety of musicians. He has often performed in a duo with compatriot Bennink, and with other musicians including Derek Bailey, Peter Brötzmann, Evan Parker, Anthony Braxton.
Han Bennink (born April 17, 1942) is a jazz drummer, percussionist and multi-instrumentalist. Through the 1960s he drummed with a number of American musicians visiting the Netherlands, including Dexter Gordon, Sonny Rollins and Eric Dolphy. He subsequently became a central figure in the emerging European free improvisation {or free jazz} scene. From the late 1960s he played in a trio with saxophonist Peter Brötzmann and Belgian pianist Fred Van Hove, which became a duo after Van Hove's departure in 1976. Through much of the 1990s he played in Clusone 3 (also known as the Clusone Trio), a trio with saxophonist and clarinetist Michael Moore and cellist Ernst Reijseger. He has often played duos with Mengelberg and collaborated with him alongside other musicians.
As well as playing with these long-standing groups, Bennink has performed and recorded solo (such as Tempo Comodo (1982)) and played with many free improvisation and free jazz luminaries including Derek Bailey, Conny Bauer, Don Cherry and Alexander von Schlippenbach, as well as more conventional jazz musicians.
Willem Breuker (born November 4, 1944) is a jazz bandleader, composer, arranger, saxophonist, and bass clarinetist. Since 1974 he has led the 10-piece Willem Breuker Kollektief, which performs jazz in a theatrical and often unconventional manner, drawing elements from theater and vaudeville.
[edit] Folk
In the early 19th century, rural Dutch folk began moving to cities like Amsterdam and Rotterdam, bringing with them folk traditions. Many of their songs and dances, however, began to dwindle in popularity. In the early part of the 20th century, however, a number of urban intellectuals travelled to the countrysides to record with local musicians, a process paralleled in other European countries, such as Spain.
In the 1970s, the Netherlands underwent a roots revival, led by artists like Gerard van Maasakkers, Jos Koning, Dommelvolk and RK Veulpoepers BV, Fungus and Wolverloi. Many of the folk songs performed by these musicians was collected by Cobi Schreijer and Ate Doornbosch, the latter of whom broadcast them on his radio program Onder de groene linde (Under the green lime).
It was in about 1974 that the Dutch folk revival peaked, a year marked by the first recording of Fungus and the birth of Wargaren from the band Pitchwheel.
The mainstream popularity of the Dutch roots revival was short-lived, but it continued in Friesland, where a handful of groups, starting with Irolt in the mid-1970s, sang in Frisian language. Frisian folk music has survived thus, aided in part by the Aaipop Festival in Nylân and annual festival in Joure. At Joure's festival, established in 1955, participants dress in 19th century-style clothes and perform traditional music and dance like the skotsploech ensembles.
Modern revivalists include the Groningen band Törf, Folkcorn, Pekel and Twee Violen en een Bas, Lirio, Dubius, Mus, Matzko and Wè-nun Henk.
Moluccan-Dutch musicians like Tala Mena Siwa and the Moluccan Moods Orchestra have had some success with pop-based Moluccan music, while kaseko, a style from the former Dutch colony of Surinam, has also seen mainstream popularity, primarily due to musicians like William Souvenir and Carlo Jones.
[edit] Classical and contemporary classical music
- See also: Matthijs Vermeulen, Johan Wagenaar, Henk Badings, Constantijn Huygens, Royal Concertgebouw Orchestra, and Rotterdam Philharmonic Orchestra
Jan Pieterszoon Sweelinck (April or May, 1562–October 16, 1621) was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras. Sweelinck was a master improviser, and acquired the informal title of the "Orpheus of Amsterdam." Over 70 keyboard works of his have survived, and many of them may be similar to the improvisations that residents of Amsterdam around 1600 were likely to have heard. Even his vocal music, which is more conservative than his keyboard writing, shows a striking rhythmic complexity and an unusual richness of contrapuntal devices.
His influence was international. Some of his music appears in the Fitzwilliam Virginal Book, which otherwise mainly contains the work of English composers. Sweelinck wrote variations on John Dowland's internationally famous Lachrimae Pavane, and John Bull, the English keyboard composer, wrote a set of variations on a theme of Sweelinck, indicating the close connection between the different schools of composition across the English Channel.
Alphons Diepenbrock (September 2, 1862 in Amsterdam, the Netherlands - April 5, 1921). He created a musical idiom which, in a highly personal manner, combined 16th-century polyphony with Wagnerian chromaticism, to which in later years was added the impressionistic refinement that he encountered in Debussy's music.
Willem Pijper (1894–1947) is generally considered one of the most important figure in modern Dutch music. Between 1918 and 1922 he grew into one of the more advanced composers in Europe. In each successive work he went a step further and, from 1919, Pijper's music can be described as atonal. However, Pijper remained a composer of strong emotional character, to which his Third Symphony (1926) bears witness. In Pijper's later works the harmonic expression seems at times to approach monotonality. As a teacher Pijper had a great influence on modern Dutch music, teaching many prominent Dutch composers of the 1950's, '60's, and '70's. He was senior master of instrumentation in the Amsterdam Conservatoire, and from 1930 until his death in 1947 he was Head of the Rotterdam Conservatoire.
Ton de Leeuw (born Rotterdam, 16 November 1926 - died Paris, 31 May 1996) is known for his experiments with microtonality. He wrote one opera, Antigone (1990-1991).
Louis Andriessen (born Utrecht: June 6, 1939) is a composer whose early works show experimentation with various contemporary trends: post war serialism (Series, 1958), pastiche (Anachronie I, 1966-67), and tape (Il Duce, 1973). Andriessen's mature music combines the influences of Stravinsky and American minimalism. His harmonic writing eschews the consonant modality of much minimalism, preferring post war European dissonance, often crystallised into large blocks of sound. Large scale pieces such as De Staat [‘Republic’] (1972-76), for example, are influenced by the energy of the big band music of Count Basie and Stan Kenton and the repetitive procedures of Steve Reich, both combined with bright, clashing dissonances. Andriessen's music is thus anti-Germanic and anti-Romantic, and marks a departure from post war European serialism and its offshoots. He has also played a role in providing alternatives to traditional performance practice techniques, often specifying forceful, rhythmic articulations, and amplified, non-vibrato, singing.
Other notable works include Workers Union (1975), a melodically indeterminate piece "for any loud sounding group of instruments"; Mausoleum (1979) for 2 baritones and large ensemble; De Tijd [‘Time’] (1979-81) for female singers and ensemble; De Snelheid [‘Velocity’] (1982-3), for 3 amplified ensembles; De Materie [‘Matter’] (1984-88) a large four part work for voices and ensemble; collaborations with filmmaker and librettist Peter Greenaway on the film M is for Man, Music, Mozart and the operas Rosa: A Horse Drama (1994) and Writing to Vermeer (1998); and the recent La Passione (2000-02) for female voice and ensemble.
[edit] See also
[edit] References
- Bloemendaal, Wim. "Tilting at Windmills". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 207-210. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
