Full text and music of the 2002 Joop van den Ende production, in the Dutch translation by Daniël Cohen. To go directly to any of the musical numbers, click on any of the time indications below. Unfortunately, the first ca.10 seconds of the Overture are missing. 00:11 Overture to the Second Act (minus the opening bars.....) 01:56 Procession of the nuns 04:48 Hoe hoog de berg lijkt 07:17 Interlude 12:22 Water bij de wijn 16:33 De dingen waar ik zo van hou. Reprise 23:10 Zoveel goeds 26:01 Wedding ceremony 35:11 Zestien, bijna zeventien. Reprise 40:39 Hoog op de berg 43:58 Edelweiss. Reprise 46:49 Adieu farewell. Reprise 50:35 Underscore and Interlude 54:36 Underscore 55:21 Hoe hoog de berg lijkt. Reprise 57:33 Applause Music !:01:11 Do-Re-Mi. Reprise Cast: Maria Rainer - Maaike Widdershoven Kapitein Georg von Trapp - Hugo Haenen Liesl von Trapp - Céline Purcell Max Detweiler - Dick Cohen Elsa Schräder - Anne-Mieke Ruyten Rolf Grüber - Jurgen Stein Moeder Overste - Esther Been Conductor: Robbert van Steijn Director: Paul Eenens ... https://www.youtube.com/watch?v=DOFPBDGEE6E

While studying composition, I soon became very impressed with the music of Dmitri Shostakovich, whom I still consider to be one of the greatest composers of all time. This is my first composition for orchestra, which I wrote under the excellent supervision of then my teacher Hans Kox. Performers: Rotterdam Philharmonic Orchestra conducted by James Conlon ... https://www.youtube.com/watch?v=gTlvsm-JJWQ

Sebastian Brouwer, tenor; Eduard de Boer, piano Scroll down for text and translations Home recording by Marco Giaschi, Pamaro Productions (pamaroproductions.com) De Kersenboom De kersenboom in onze tuin pronkt zich de blauwe hemel in – ontroerend bruidsboeket in mei – de winter wilde dit jaar maar niet wijken en in ons hart ontstond vertwijfeld vragen of dit jaar de woestijn nog zou verdwijnen het gras weer groen zou worden en ik vreesde dat de bomen nooit meer zouden spruiten en nu ineens dat tere blauw mei-blauw niet nader te benoemen en uit de bermen wijkt de dood en samen met het groen begin ook ik opnieuw te leven. Der Kirschbaum Der Kirschbaum in unserem Garten protzt in den blauen Himmel hinein – berührender Hochzeitsstrauß im Mai – Der Winter wollte dieses Jahr nicht nachgeben und in unserem Herz entstand ein verzweifeltes Fragen ob dieses Jahr die Wüste noch verschwinden würde ob das Gras wieder grün werden würde und ich fürchtete, dass die Bäume nie wieder sprießen würden und jetzt plötzlich dieses zarte Blau Mai-blau nicht näher zu deuten und der Tod weicht von den Seitenstreifen und zusammen mit dem Grün fange auch ich an wieder zu leben. The Cherry Tree The cherry tree in our garden is showing off into the blue sky – a moving wedding bouquet in May – this year, winter didn’t want to yield and in our hearts arose a desperate questioning whether this year the wasteland would disappear whether the grass would turn green again and I feared that the trees would never sprout again and now suddenly this delicate blue May-blue impossible to determine and death is departing from the berm and together with the vegetation I also start living again. ... https://www.youtube.com/watch?v=SJCr4OdR0QY

Click on the timings below to start at the beginning of each of the movements. Recording of the premiere, by the Marine Band of the Royal Netherlands Navy, conducted by their guest conductor Jan Cober, on Friday the 5th of July, 2013, in the Theatre of Kerkrade, The Netherlands, as part of the concert cycle of the World Music Contest (WMC) for wind bands 2013, in Kerkrade. Opname van de première, door de Marinierskapel der Koninklijke Marine o.l.v. gastdirigent Jan Cober, op vrijdag 5 juli 2013, in het Theater Kerkrade, als onderdeel van de concertcyclus van het Wereld Muziek Concours (WMC) 2013 voor blaasorkesten. 00:09 I. Recollections 20:01 II. April 1915 29:54 III. Grief 45:38 IV. Eternal Peace I also wrote a version of this symphony for symphony orchestra. Anyone who is interested in performing either version of the piece can contact me at alexander[at]comitas.org. In April 1915, the Turkish government started to carry out a long standing plan to exterminate most of the Armenian people living in Turkey. One of the many victims of the gruesome atrocities that took place during the following months is the great Armenian ethnomusicologist, musician and composer Soghomon Soghomonian, better known as Vartabed (Father) Komitas, who lived from 1869 to 1935. Together with several other prominent Armenians, he was arrested on April the 24th, 1915, and transported to Chankiri in Central Anatolia. Some weeks later, he was released and brought back to Constantinople. However, he couldn't cope emotionally with what he had experienced and witnessed. He got into such a deep state of depression that he ended up spending the last thirteen years of his life in the French state institute Hôpital Villejuif, where he died in 1935. The destiny of his creative legacy was no less tragic. The majority of his manuscripts was destroyed or got lost. This symphony is a large scale tribute to the great Armenian bard. It is based on motives from compositions by Komitas and on Armenian folk melodies, as notated by him, complemented with motives from Turkish folk tunes. The events of 1915 play an important part in the whole of the symphony, and are at the heart of its second movement. The division in movements is as follows: I. Recollections. During composing, I imagined Komitas in the Hôpital Villejuif looking back on his life until April 1915. In the sombre slow introduction there are two principal melodies: Ervum èm (Mourning song) and Lord, have mercy from his Armenian liturgy Patarag. Also, bits from some threatening sounding Central Anatolian tunes are announced. And a glimpse from Komitas' carefree Song of the Partridge ─ people familiar with music for wind orchestra will know it from Alfred Reed's Armenian Dances ─ is heard, too. In the ensuing Allegret ... https://www.youtube.com/watch?v=SA0DrmYppt8