Project Paloma III - Second World War Masterpieces for flute & piano The Netherlands Emily Beynon & Andrew West

• Marius Flothuis (1914 - 2001): Flothuis Sonata:
• 1 Flothuis: Flothuis Sonata: I Cadenza 01:41
• 2 Flothuis: Flothuis Sonata: II Sonatina 03:29
• 3 Flothuis: Flothuis Sonata: III Lamento 02:06
• 4 Flothuis: Flothuis Sonata: IV Rondo alla Francese 02:43
• Willem Andriessen (1887 - 1964): Andriessen Praeludium:
• 5 Andriessen: Andriessen Praeludium 03:09
• Marius Flothuis: Flothuis Aubade:
• 6 Flothuis: Flothuis Aubade 03:17
• Rudolf Escher (1912 - 1980): Escher Habanera:
• 7 Escher: Escher Habanera 03:55
• Leo Smit (1900 - 1943): Smit Sonata:
• 8 Smit: Smit Sonata: I Allegro 03:15
• 9 Smit: Smit Sonata: II Lento 04:37
• 10 Smit: Smit Sonata: III Allegro moderato 04:55
• Hans Osieck (1910 - 2000): Varsovi Accuse:
• 11 Osieck: Varsovi Accuse 04:36
• Dick Kattenburg (1919 - 1944): Kattenburg Piece pour flute et piano:
• 12 Kattenburg: Kattenburg Piece pour flute et piano 04:09
• Total Runtime 41:52

Info zu Project Paloma III - Second World War Masterpieces for flute & piano The Netherlands

Die Dunkelheit des Zweiten Weltkriegs wirkte sich auf die Komponisten auf unterschiedliche Weise aus. Diese Sammlung von Werken aus den Niederlanden zeigt, dass einige sich ihr frontal stellten, während andere musikalische Formen wählten, die scheinbar schräg auf das Grauen blicken - obwohl keiner davon unberührt blieb. Smit und Kattenburg starben beide in den Lagern, nur zwei der 102.000 jüdischen, Sinti- und Roma-Opfer aus den Niederlanden, von denen bekannt ist, dass sie getötet wurden.

Marius Flothuis schrieb sowohl seine Sonata da Camera (1943) als auch seine Aubade (1944) in den Nazilagern. Die Sonate ist in weiten Teilen neoklassisch distanziert, aber das Lamento im Zentrum zeigt den Schmerz des Komponisten, während die Reinheit der Aubade die Hoffnung auf einen neuen Aufbruch vermittelt.

Die drei Sätze der kraftvollen Sonate von Leo Smit, die 1939 entstanden ist, spiegeln die zunehmende Verzweiflung seiner eigenen Erfahrungen wider; der tragische langsame Satz stammt vom Februar 1943, kurz bevor er deportiert wurde.

Hans Osiecks Mazurka Varsovie accuse (1946), bezeichnet als "langsam, traurig und unheimlich", ist schwer vom Elend des Warschauer Ghettos; sie lässt den jugendlichen Überschwang von Dick Kattenburgs Pièce (1939) in einem neuen, schrecklichen Licht erscheinen, denn als Osieck dieses Werk schrieb, war der 24-jährige Kattenburg bereits in Auschwitz ermordet worden. Selbst die üppige Romantik von Andriessens Praeludium (1942) ist von Traurigkeit geprägt, und Eschers eindringliche Habanera (1945) ist nur noch ein geisterhaftes Aufflackern dessen, wie sie vor dem Krieg hätte klingen können.

Emily Beynon, Flöte
Andrew West, Klavier

Emily Beynon
has been principal flute of the Concertgebouw Orchestra, Amsterdam for more than 25 years.

Born in Wales, Emily Beynon began her flute studies as a junior at the Royal College of Music with Margaret Ogonovsky and then went on to study with William Bennett at the Royal Academy and with Alain Marion in Paris.

Equally at home in front of the orchestra as in its midst, Emily has performed as concerto soloist with, amongst others, the Royal Concertgebouw Orchestra, the Philharmonia Orchestra, BBC Orchestras, NHK Symphony, the Vienna, Prague, Netherlands and English Chamber Orchestras and the Academy of St.Martin-in-the-Fields.

As a chamber musician she works regularly with her sister, the harpist, Catherine Beynon and the pianist, Andrew West. She is frequently heard on the radio and has featured in several television documentaries. She has made 12 concerto/recital albums to date, the most recent being the first of a series of 5 Project Paloma discs with Andrew West, featuring masterworks for flute and piano from the Second World War.

Emily is an enthusiastic protagonist of new music and has had many new works written for her by composers such as John Woolrich, Sally Beamish, Jonathan Dove, Errollyn Wallen, Roxanna Panufnik and Maarten Ornstein.

A passionate and dedicated teacher, Emily is regularly invited to give masterclasses all over the world. From 2009 – 2021, she was Artistic leader of the Netherlands Flute Academy. At the start of the 2020 pandemic, Emily established a YouTube channel with video tutorials on technical aspects of playing and various orchestral repertoire solos.

Andrew West
has developed partnerships with many of the country’s leading singers and instrumentalists.

Andrew received the inaugural Gerald Moore Award for Accompanists, and for several years he acted as official accompanist to the Steans Institute for Singers at the Ravinia Festival in Chicago.

He has given recitals and recorded with Emma Bell (a CD of lieder by Strauss, Marx and Bruno Walter), Alice Coote, James Gilchrist, Hakan Vramsmo and Roderick Williams. He also appears regularly with Mark Padmore; their concerts together have included Mark Padmore’s debut Wigmore Hall recital, and further recitals in Paris and New York.

He is one of the artistic directors of the Nuremberg International Chamber Music Festival, now in its sixth year, which presents English song unfamiliar to local audiences as well as more traditional repertoire. Highlights have included Tippett songs with Mark Padmore and Britten’s opera Noye’s Fludde performed in a circus tent in Nuremberg Zoo.

He has a longstanding collaboration with flautist Emily Beynon, with whom he has appeared at the BBC Chamber Music Proms and the Edinburgh International Festival

As a duo pianist he appeared recently at the City of London and Cheltenham Festivals with pianist Cedric Tiberghien. He is also closely involved with the Michael Clark Dance Company Stravinsky Project, performing the two-piano version ofThe Rite of Spring with Philip Moore, and in a new production of Les Noces when the company returned to the Barbican Centre earlier this month.

Andrew West read English at Clare College, Cambridge before going on to study with Christopher Elton and John Streets at the Royal Academy of Music, where he is now professor of Accompaniment and Chamber Music. In 2019 he was awarded the prestigious Fellowship of the Royal Academy (FRAM).

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