Louis Andriessen: Rosa - The Death of a Composer

Louis Andriessen: Rosa - The Death of a Composer

Louis Andriessen: Rosa - The Death of a Composer
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Music CD Cover

Composer: Louis Andriessen
Conductor: Reinbert de Leeuw
Performer: ASKO Ensemble
Orchestra: ASKO Ensemble
Performer: Schoenberg Ensemble
Orchestra: Schoenberg Ensemble
Performer: Marie Angel
Performer: Miranda van Kralingen
Performer: Christopher Gillett
Edition: Music CD
CD Release Date: 2000-05-16
Music Label: Nonesuch
Soundtracks:
Music CD 1
  1. Overture
  2. Scene 1
  3. Scene 2
  4. Scene 3
  5. Scene 4
  6. Scene 5
Music CD 2
  1. Scene 6
  2. Scene 7
  3. Scene 8
  4. Scene 9
  5. Scene 10
  6. Scene 11
  7. Scene 12
  8. The Index Singer
  9. Rosa: The Death of a Composer: Scene 9 - Louis Andriessen
  10. Rosa: The Death of a Composer: Scene 10 - Louis Andriessen
  11. Rosa: The Death of a Composer: Scene 11 - Louis Andriessen
  12. Rosa: The Death of a Composer: Scene 12 - Louis Andriessen
  13. Rosa: The Death of a Composer: The Index Singer - Louis Andriessen

Free Music Notes for Louis Andriessen: Rosa - The Death of a Composer

Free Music Review: Intoxicating, gripping, fantastic 'Horse Opera'!
Hit: 5 Stars

A curious but engaging libretto/scenario from Peter Greenaway, featuring labyrinthine turns of reference and plot that encompass serial murders, contemporary composers, sexual obsession, equine fondness, and Hollywood cinema westerns, only seems to sharpen Louis Andriessen's musical skills. Urgent phrasing, minimalist throbbing, and swirling developing melodies, orchestrated to the composers' unique taste in wind, brass, electric guitars and voices, makes for an addictive, flourishing, score, which works very well on CD. Andriessen throws in wild flourishes of jazz influence and wide, ranging, Western film music pastiche, but never sounds anything like the true original he is. This is highly recommended; if anything more coherent and complete than his major 'music theater' piece "De Materie" (a collaboration with director Robert Wilson). Teaming up with English arthouse filmmaker Peter Greenaway ("The Cook, The Thief, His Wife and Her Lover")works well, and more is promised is promised from the duo ("Waiting for Vermeer" being a cited title). Meanwhile this remains an exceptionally fresh and edgy piece, tolling, trumpeting and snarling into the contemporary conciousness.

Louis Andriessen: Rosa - The Death of a Composer Poster

Certain composers have suffered rather weird fates, from Lully's lethal foot infection--he jabbed it while beating time--to the accidental shooting of Anton Webern (or was it a murder conspiracy?). That fact is just one of the many seeds that have germinated into the fictional case (re)presented in Rosa: The Death of a Composer, the first in the ongoing series of collaborations between leading Dutch avant-garde composer Louis Andriessen and director-librettist Peter Greenaway. The result is a Chinese box-like dramaturgy, many-tiered, self-referential, and frankly too complex to summarize handily but which involves hippophilia, an abusive relationship, geometric obsessions, multiple nudity, old-fashioned Westerns, and art's slippery, illusory nature. Greenaway has in fact created a film from the original 1994 stage production--but even without its stylized bleed of visuals and streaming text, the bizarrely arresting quality of this one-of-a-kind opera comes across on Nonesuch's premiere recording. Andriessen's score is a fascinating melange of nervous minimalism--preempting the style's tendency toward predictability--fierce Stravinskian rhythmic displacements, frosty harmonies that gather like a miasma, and half-jazz, half high-opera vocalism. Most impressive of all is how Andriessen avoids the kind of standard-issue postmodern pastiche that's the usual payoff but instead actually creates a believable sound world for the story's unique mix of parody and menace. Longtime Andriessen interpreters Reinbert de Leeuw and the Schönberg Ensemble give the score a biting, disturbing edge, while Marie Angel surmounts the outrageous demands (not just vocal) made on her without faltering. The anti-romantic Andriessen is a seriously undervalued composer--he lacks the star power of Glass or Reich--but his intensely probing visions of music and its place in culture (as in De Materie) open labyrinths of discovery. --Thomas May

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