leendert.dejonge@kpnmail.nl

Donations are welcome to support and promote the work of Charles Koechlin and the composition Les Chants de Nectaire: ING 7659345

The manner of writing of the titles on the previous Opus-pages is identical to the way the composer writes them in his manuscript.




Photo`s by Charles Koechlin:
- Holland, Beach and Sea, May 1907
- Holland, Drifting ice, Zuiderzee, January 1908
- Holland, Drifting ice, Zuiderzee, January 1908 stereo version
- France, Canadel, Reflections at sea, 1914
- France, Rocks in front of the house, arround 1930
- Greece, Road near Delphi, 16-10-1930
- Harbour of Morlaix, (before 1933)
- Tartanes in the harbour of Saint-Raphaël, (before 1933)



Photo Leendert de Jonge (2007)
©Raven


About Quadrivium.
After noise, silence brings respite. We all breathe a sigh of relief when the loudspeakers are stilled, the orchestra quiet, the fanfare over, the roaring train fading to a mere speck in the distance.
Silence is not just the backdrop to life, it is a necessary prerequisite, essential as canvas to a painting. He who believes music can created outside the womb of stillness, is like a child daubing paint at random. Quadrivium wishes to promote the silence in music, the void that enables one to hear. Music proceded by silence, followed by silence, allowed by silence to breathe. This, and this alone, will give the ear a world where sound can sing.
There is equipment for recording, processing, and reproducing sound. However, only the best equipment can truly dispense and apportion rest and silence. But ears are the most important tools; Quadrivium too, is not without them. Quadrivium gives advice, plans projects, carries them out, makes recordings, does musical coaching, gives lectures. And when there is nothing more to say, Quadrivium keeps silent.
copyright © 1997 Ileen Montijn, english translation Julian Herman



Vaikhari is the level of audible sound produced by the striking together of two surfaces or by the plucking of a string.
Madhyama (from the Sanskrit for ‘medium’) is the transition between heard-sound and its inner vibration.
With Pashyanti, the sound is only heard by the spiritually-awakened aspirant.
Para means ‘transcendental’ or ‘beyond’ and when this is reached, sound has passed far beyond the audible.





ABOUT THE LIBERAL ARTS


Based on the types of studies that were pursued in the Classical world, the Seven Liberal Arts became codified in late antiquity by such writers as Varro and Martianus Capella. In medieval times, the Seven Liberal Arts offered a canonical way of depicting the realms of higher learning.


The Liberal Arts were divided into the Trivium ("the three roads") and the Quadrivium ("the four roads").


The Trivium consisted of:

Grammar
Rhetoric
Logic


The Quadrivium consisted of:

Arithmetic -- Number in itself
Geometry -- Number in space
Music, Harmonics, or Tuning Theory -- Number in time
Astronomy or Cosmology -- Number in space and time




“...one star exists, higher than all the rest. This is the apocalyptic star. The second star is that of the ascendant. The third is that of the elements - of these there are four, so that six stars are established.
Besides these there is still another star, imagination, which begets a new star and a new heaven.”
Paracelsus
From: The Hermetic Astronomy


"Il y a deux sortes de temps
Il y a le temps qui attend
Et le temps qui espère"

Jacques Brel


"Enfin, on verra...."
Charles Koechlin



link: http://www.koechlin.net/ancetres/charles.htm

The permission to perform and record Les Chants de Nectaire started because of my recording for Attacca -Composers Portraits:
André Jolivet - Incantations & Ascèses
Incantation 1937
Cinc Incantations 1936
Ascèses 1967
Incantation 1937

Leendert de Jonge, flutes

"The technique of a composer offers him the key to set free everything man and matter contain. In this respect music cannot be anything else than magic..."
(André Jolivet)

Special thanks in this to Siewert Verster and I am very happy his impressive catalogue is on-line again:
Attacca
http://www.attacca-records.com/index.htm



Biographie
Leendert de Jonge – flûte
Leendert de Jonge joue de la flûte depuis l’âge de huit ans. De 1975 à 1981 il a étudié au Conservatoire Sweelinck d’Amsterdam avec Koos Verheul, qui ouvrit son élève non seulement à un large répertoire mais aussi à une sensibilité pour la pureté du style. Il affina son art des nombreux styles différents de jeu de la flûte avec Michel Debost à Paris et avec Karlheinz Zöller à Hambourg.
Leendert de Jonge a joué dans des festivals musicaux de premier plan comme les Festwochen de Vienne, le Festival de Salzbourg et le Festival de Hollande.
Il a participé à des créations avec l’Ensemble Modern, le Nieuw Ensemble, Der Blaue Reiter, l’Ensemble Xenakis et les “Beau Hunks”.
Comme soliste, il a interprété le personnage de Neville (Virginia Woolf – The Waves) dans A King, Riding de Klaas de Vries et il a participé à d’importants concerts et enregistrements tels que “Prometeo” de Luigi Nono et “The Beau Hunks play the original Laurel and Hardy music”.

Le fil conducteur de la carrière de M. de Jonge est le répertoire pour flûte seule.
Il a enregistré sur CD les œuvres d’un choix de compositeurs qui ont abondamment écrit pour la flûte :
• “Incantations & Ascèses”, compositions pour flûte seule d’André Jolivet (premier enregistrement sur CD après Jean-Pierre Rampal sur microsillon)
• “Suites & Partita”, probablement jouées à l’alto par Jean-Sébastien Bach lui-même lors de leur création (et devenues ensuite un joyau du répertoire pour violoncelle), six très belles suites solo, transcrites pour flûte et interprétées par Leendert de Jonge, où il révèle des myriades de dimensions nouvelles.
• “Les Chants de Nectaire opus 198, 199 & 200”, de Charles Koechlin, trois séries de monodies pour flûte, comparables aux-dites “Suites” de J-S Bach et merveilleusement servies par la virtuosité, la richesse sonore et la sensiblitité extrêmes de Leendert de Jonge.

Artiste aux talents variés, Leendert de Jonge est toujours ouvert à l’inattendu dans la vie musicale.