Important recordings of music by Gabriel Pierné:
Hill E. B. Modern French Music; Poueigh Jean . Musiciens Français d'Aujourd'hui.
|COLUMBIA: Cydalise et le Chêvre-Pied ( Pierné); Entrance of the Little Fauns ( Damrosch).|
|POLYDOR: March of the Little Tin Soldiers ( Wolff).|
|GRAMOPHONE SHOP: Sonata da Camera for Trio.|
"You may take Pijper's music or leave it. . . . I, for one, have no hesitation in placing it, for its clarity, attractiveness and significance, among the best of the present period."--M. D. CALVOCORESSI
WILLEM PIJPER, one of the outstanding personalities in the modern music of Holland, was born in Zeist (Utrecht) on September 8, 1894. His musical studies were pursued entirely in Holland--theory being learned from that eminent Dutch instructor, Johann Wagenaar, and piano from Frau von Luntern. When he completed his studies, Pijper hurled his energies into musical activity, and became soon one of the very vital forces in the musical life of his country. His influence was felt in many important directions. From 1918 until 1923, he was the music critic of the Utrechter Tagblatt, where he employed a vigorous pen in spreading the gospel of modern Dutch music. In 1926, he became the director of the Utrecht Wind Sextet. At the same time, he gained a prominent name as teacher of harmony and composition, first at the Amsterdam High School, and then at the Conservatory.
Since 1925, Pijper has been issuing Holland's most important music journal, Die Muziek. It is generally accepted by musicologists that Pijper has done more on behalf of modern Dutch music--in his variegated rôle as writer, editor, teacher and composer--than any of his compatriots.
His many activities did not prevent his growth and development as a composer. Before 1920, a Symphony--which revealed the unmistakable influence of Gustav Mahler--and a Divertimento,
"Like most of the younger Dutch composers," Herbert Antcliffe informs us, "he has turned away from the German tradition which a few years ago was so strong in Holland, and has followed largely in the wake of the French schools. Lately, however, he has developed a more individual style, in which he shows no little trace of his nationality, and one or two of his works may be said to be a part of the nucleus (now forming) of what appears likely to be a strong Dutch school--a school with the characteristics of the national Volkslied and of the people as a whole."____________________