• Johannes Bernardus van Bree: Konzert-Ouvertüre h-moll; Le Bandit-Ouvertüre
  +Johannes Verhulst: Ouvertüre c-moll "Gijsbrecht van Aemstel" op. 3
  +Johan Wagenaar: Frithjof's Meerfahrt op. 5; Konzert-Ouvertüre "Frühlingsgewalt" op. 11
  +Jan van Gilse: Konzert-Ourvertüre c-moll

In the 19th century, the first violin section in Dutch orchestras often consisted of amateurs. In fact, even the 'Orchestra Association' in Utrecht, Rotterdam and Amsterdam did not consist exclusively of professional musicians, but a significant proportion of its members were amateurs. This mixed line-up of musicians and a strong inclination towards German and French composers had a profound influence on the choice of repertoire, and a clear preference developed for programs with a large number of short and contrasting pieces. This explains the success of the overture, a genre that encompassed both the condensed piece of the orchestral prelude to an opera and independent pieces. Dutch overtures differ from those of foreign origin in that they generally have a mild tone and lack theatricality. The orchestra often has a transparent sound quality, with the main sources of inspiration being Weber, Mendelssohn and Boieldieu.

Two fine examples are the two overtures on this album by Johannes van Bree (1801-1857). His oeuvre comprises four independent orchestral overtures, including this one in B minor. Van Bree also composed a number of operas, including Le Bandit, whose overture shows obvious influences from Weber's overtures. On the other hand, the overture in B minor is closer to the French opera overtures by Cherubini and Boieldieu. Johannes Verhulst (1816-1891) was a friend of Robert and Clara Schumann and his music was praised by Mendelssohn. According to his overture to Vondel's play Gijsbrecht van Aemstel, he had listened attentively to Mendelssohn's overture 'Hebrides'. A series of powerful brass chords in a dotted rhythm is also reminiscent of a passage from Schumann's First Symphony. When Johan Wagenaar (1862-1941) began his career, the music of his German contemporaries still played an important role in symphonic concertos, and the German influence in Wagenaar's music permeates his entire symphonic output, which includes a number of overtures. Frithjofs Meerfahrt (Op. 5) is Wagenaar's first orchestral work and was written around 1884. The later concert overture Op. 11 "Frühlingsgewalt" seems to be strongly influenced by Mendelssohn's idyllic nature paintings and impresses with its enormous contrasts in tempo and instrumentation. Even more than Wagenaar, Jan van Gilse (1881-1944) was a product of the conservative trend in German music around 1900. Shortly before the turn of the century, he studied at the Cologne Conservatory with Franz Wüllner, who had also been Willem Mengelberg's teacher ten years earlier. Van Gilse's Concert Overture in C minor was composed at the end of his conservatory studies. The music begins in a minor key and ends in a major key, developing, in Beethoven's words, from darkness to light. Despite turbulent episodes in his music, it always shows an often suppressed, but sometimes also obvious longing for liberation and fulfillment.

Further information:
Recorded in August 1996, August 1997, June 1998, Hilversum, Netherlands Trilingual booklet in English, German and Dutch with liner notes by Emanuel Overbeeke

A highly entertaining selection of orchestral overtures by Dutch composers from the Romantic period. Presented are overtures by Johannes van Bree, Johan Wagenaar, Johannes Verhulst and Jan van Gilse. Their works are inspired by the great examples of Romantic overtures by Mendelssohn, von Weber and Schumann: strong thematic characterization, passionate emotions, sound painting and brilliant orchestration: a feast of orchestral virtuosity!

Performed by the Radio Symphony Orchestra under the baton of Maestro Jac van Steen, a champion of neglected 19th century orchestral music. New edition from the catalog of NM Classics, the label for music from the Netherlands.