CD-Contents:

Concerto for Brass Quintet and Orchestra, opus 133

  1   Andante sostenuto / Allegro con brio

8'48''

  2   Andante sostenuto

6'22''

  3   Allegro vivace

4'01''

'Quintetto Lirico' for Brass Quintet, opus 141

Dedicated to DAS RENNQUINTETT !

  4   Andante con moto / Allegro giocoso

2'52''

  5   Andante doloroso / Adagio

4'11''

  6   Rondo sereno, Allegretto comodo

5'03''

Introduction und Variations of the 'Vyšehrad'-Theme by Friedrich Smetana for Harp und Brass Quintet, opus 71

  7   Introduction, Andante con moto

1'39''

  8   Theme Vyšehrad, Largo maestoso

2'21''

  9   Variation I, Allegramente

2'55''

10   Variation II, Andante cantabile

3'14''

11   Allegretto - Variation III, L'istesso tempo

2'41''

12   Animato - Variation IV, Allegro con brio

2'28''

13   Variation V, Andante mesto

3'47''

14   Allegro vivace - Variation VI, L'istesso tempo

3'33''

Brass Quintet, opus 65

15   Andante con moto / Allegro con brio

3'27''

16   Andantino / Presto / Andantino

4'15''

17   Molto vivace

3'51''

Total Time:   

66'11''

    The attraction to the brass is inscribed throughout my entire work. The affinity to the special possibilities of different combinations lead to my desire to prove, that brass chamber music should be considered a serious domain in the music world.
    The carefully created recordings of the RENNQUINTETT presented here, justify my hopes to the utmost. Besides the obvious professionalism, the ensemble especially demonstrates a brilliant subtlety towards chamber music, for which I sincerely yearned. What has been accomplished here, concerning the delicacy of dynamics and sound, should set an example and fills the heart of the composer with admiration and joy!

Jan Koetsier, April 2, 1996

Hommage

    Though his heritage lies in the Netherlands, Jan Koetsier, born in 1911, has adapted completely to the German way of life. He studied composition, piano and conducting between 1927 and 1934 in Berlin, experiencing there still the ingeniously excessive 'roaring twenties' and the abrubt change into the 'order' of the nazi regime. At first he had to struggle through typical beginner positions (i.e. a traveling opera company among others), though was able to advance his career, when the legendary Willem Mengelberg (who conducted the Concertgebouw Orchestra for a total of 50 years from 1895 until 1945) asked him to come to Amsterdam in 1942 to be his assistant. In 1950 Koetsier accepted a position at the Bayerische Rundfunk (Bavarian Broadcasting), offered by Eugen Jochum, where he produced an enormous compilation of recordings of various styles and eras over the years, partly with the Bamberg Symphony. In his concerts Koetsier always included compositions he thought were being unjustly neglected; already in the fifties he was one of the first who attempted to give the symphonic music of Gustav Mahler the recognition it deserved. In 1966 he was appointed professor of conducting at the College of Music in Munich, where he passed on his knowledge and his experience to a whole generation of young conductors. Jan Koetsier has long since become a living legend in Munich, where he spent over 50 years in the city and its surroundings. Many years ago he escaped the hustle (and the pollution) of the city by moving into a farmhouse in a hamlet near Mühldorf, where the 85 year old still writes music with inexhaustible energy.
    Besides numerous pieces of chamber music, Jan Koetsier composed many symphonies and also wrote the dramatic oratorium The Man Lot, which was performed first by Rafael Kubelik in Munich.

Jan Koetsier writes about his compositions:

    During the last decade in Germany the brass chamber music achieved a recognizable upswing. Before the second world war, this style of music was rarely heard other than during formal occasions and up until then, had little difference with popular brass music. Following the war, the first impulse for this new development derived from Britain. While being the conductor of the Concertgebouw in Amsterdam, a quartet was founded with the legendary trumpeter Marinus Komst in the formation: 2 trumpeters, French horn, and trombone.The piece I wrote in 1947 for this quartet titled Petite Suite was to be the first of a long list of compositions for brass ensembles. Later the Petite Suite was included in the repertoire of the famous Philip Jones and marked the beginning of a long artistic friendship.


    Several of these brass compositions are presented here by the renowned RENNQUINTETT.

Concerto for Brass Quintet and Orchestra, opus 133 (1993)

    This concerto not only remains true to tradition in its structure, sonata form - sectional form - rondo, but also the single components are arranged so logically, that the listener is always aware of what is being played. A glance at the score demonstrates the perfectionistic artisan, who optimally reveals the particular character of the instruments. The economics in respect of sound with a small orchestra already show his experience; for example, nine different percussion instruments can be performed by one single percussionist. Koetsier never had the intention of dogmatizing his music, he approached the task with the cheerful distance of an established and matured composer. Searching for a related example, Paul Hindemith's Spielmusiken come to mind. The ingeniously frivolous level is only deserted twice: towards the finish, the cantabile, almost meditative middle movement surprises with an eruption of sonority and expressionism; at the end of the concerto Koetsier wants to forget the gestures of nonchalant withdrawal and exploits every advantage: increase of tempo, change of time, abrupt dynamic differences (including a largo-insert of the five soloists), until the powerful finale leads hastily to perfect E-flat-major, the basic key of the entire composition.

Erich Mauermann

Quintetto lirico, opus 141 (1994)  

    This composition has been dedicated to the RENNQUINTETT and devotes its basic attitude to a lyrical, vocal melody. This is demonstrated especially in the introduction, then in the slow second movement and sporadically in the final Rondo sereno. The virtuosity isn't neglected by any means, being kept always in a lucid transparence.

Professor Jan Koetsier

Introduction and Variations of the 'Vyšehrad'-Theme
from Friedrich Smetana for Harp and Brass Quintet, opus 71 (1976)

    The Introduction and Variations of the Vyšehrad-theme by Smetana was written for the Munich Brass Soloists (Münchner Blechbläsersolisten). This ensemble performed their quintet concerts playing alternately with a harpist and subsequently the wish arose to perform together. The Vyšehrad-theme from Smetana's My Country presented itself as the ideal piece to the composer, because the harp introduces this theme with a tremendous cadenza, which is repeated almost note for note.
    The following variations illustrate the theme from many diverse aspects, continually being interrupted by small harp soli and yet still connected with each other.

Professor Jan Koetsier

Annette Jansen-Zacks, harp
 
    born 1960 in Duisburg, first harp-lessons at the age of 16, studied with Mrs. Professor Ruth Konhäuser at the College of Music in Detmold from 1980 until 1984, since 1984 principal harp with the SWR-Radio Orchestra.

Brass Quintett, opus 65 (1974)  

    The rhythmical possibilities of brass instruments are extremely enticing; after a short and slow introduction these are relished to the utmost in the first movement of the quintet presented here, with its many changes of meter and shifted accents.
    In the second movement a simple, melodious phrase of the trumpet is contrasted with a burlesque theme from the tuba, which, following a few variations, are brought together in a choral manner at the end.
    The agility and virtuosity of the instrumentalists triumph in the last movement; in a vigorous 6/8 meter, interrupted only by a few obstinate 7/8 meters, the composition gyrates towards its finale.  

Professor Jan Koetsier

    With this CD Hommage we show our respect for Jan Koetsier, being such an extraordinary important and deserving composer of brass chamber music. The fact that this CD is released in time for his 85th birthday celebration in 1996 allows us to convey our very best wishes, combined with tremendous and sincere gratitude for his work, in the way we know best: with music. 

CREDITS 

Digitally recorded in 1995
Sound engineers: Fritz Heieck, Sigurd Krumpfer, Rudolf Anslinger, Karl Haffner
Digital Mastering: Sigurd Krumpfer
This Compact Disc was produced without any sound effects, solely the placement and selection of the microphones determine the instrumental sound.
Production: Rudolf Bayer
Text: Professor Jan Koetsier
Translation: Bernadette and Jochen Scheerer
Photos: Reiner Voss, Carmen Kreiss