Uploaded January 2016 | Updated September 2026, 2 weeks ago
- Composer: Hendrik Franciscus Andriessen (17 September 1892 -- 12 April 1981)
- Orchestra: Netherlands Radio Chamber Orchestra
- Conductor: David Porcelijn
- Soloist: Roberta Alexander (soprano)
- Year of recording: 1991
Miroir de Peine, version for voice & orchestra, written in 1923/1933.
00:00 - I. Agonie au jardin
03:17 - II. Flagellation
05:21 - III. Couronnement d'épines
07:48 - IV. Portement de Croix
11:03 - V. Cruxifixion
Dutch composer Hendrik Andriessen was the father of Louis Andriessen, his music has much in common with the French/Belgian composers like Fauré, Franck. His lieder cycle "Miroir de Peine" (1923, orchestrated in 1933) is based on poems by Henri Ghéon, pen name of Henri Vangeon (1875-1944). The musical drama in this cycle is much more subtle than that of the previously discussed lieder. Repeated notes determine a text declamation that bears resemblance to Gregorian chant.
The cycle is noteworthy for its unity in terms of text and musical content: The five sonnets describe the sufferings of Christ from Mary's emotional standpoint, and five notes used in different ways throughout the lieder form the unifying musical element in the cycle.
As it stands, this cycle is probably one of the best chamber works in Hendrik Andriessen's output.
- Composer: Hendrik Franciscus Andriessen (17 September 1892 -- 12 April 1981)
- Orchestra: Netherlands Radio Chamber Orchestra
- Conductor: David Porcelijn
- Soloist: Roberta Alexander (soprano)
- Year of recording: 1991
Miroir de Peine, version for voice & orchestra, written in 1923/1933.
00:00 - I. Agonie au jardin
03:17 - II. Flagellation
05:21 - III. Couronnement d'épines
07:48 - IV. Portement de Croix
11:03 - V. Cruxifixion
Dutch composer Hendrik Andriessen was the father of Louis Andriessen, his music has much in common with the French/Belgian composers like Fauré, Franck. His lieder cycle "Miroir de Peine" (1923, orchestrated in 1933) is based on poems by Henri Ghéon, pen name of Henri Vangeon (1875-1944). The musical drama in this cycle is much more subtle than that of the previously discussed lieder. Repeated notes determine a text declamation that bears resemblance to Gregorian chant.
The cycle is noteworthy for its unity in terms of text and musical content: The five sonnets describe the sufferings of Christ from Mary's emotional standpoint, and five notes used in different ways throughout the lieder form the unifying musical element in the cycle.
As it stands, this cycle is probably one of the best chamber works in Hendrik Andriessen's output.
