Ton de Leeuw

Antonius Wilhelmus Adrianus de Leeuw (born Rotterdam, 16 November 1926; died Paris, 31 May 1996) was a Dutch composer. He occasionally experimented with microtonality.

Life and career

Taught by Henk Badings, Olivier Messiaen and others, and in his youth influenced by Béla Bartók, de Leeuw was a teacher at the University of Amsterdam and later professor of composition and electronic music at the Sweelinck Conservatory in Amsterdam from 1959 to 1986, at which institute he served as director from 1971–73. For his notable students, See: List of music students by teacher: K to M#Ton de Leeuw.

"When I was quite young I once accidently tuned in on a radio broadcast from an Arabian station. I was thunderstruck: I became deeply aware that there were other people living on this earth, living in thoroughly different conditions, having other thoughts and feelings" (Ton de Leeuw, 1978).

He studied ethnomusicology with Jaap Kunst between 1950 and 1954 [1] and the encounter with the Dagar brothers and Drupad on his first visit to India in 1961 deepened a lifelong interest in "transculturation". Since then he has travelled throughout the world: Japan, Indonesia, Australia, the Philippines, Persia, the Sovjet Union, Hungary, Bulgaria and Finland, where he hold workshops and lectures on the East-West relationship in music. In the seventies de Leeuw and André Jurres initiated the renowned Music-Cultural gatherings Musicultura at Queeckhoven House in Breukelen, the Netherlands. See: The World of Music Vol. 20, No. 2, Musicultura: Three Orient-Occident Encounters organized by the Eduard van Beinum Foundation—Final Report (1978), pp. 10–14. This manifested itself in his work for Western instruments by the occasional use of microtonality, as in his String Quartet No. 2 (1964),[2] as well as in compositional plans; Gending (1975)[lower-alpha 1] for Javanese gamelan is a rare foray into writing for non-western instruments. In 1956 Ton de Leeuw was awarded the Prix Italia for his radiophonic oratorio Job.

He wrote three operas, all to his own libretti, including a television opera Alceste (1963, after Euripides), the one-act De Droom ("the Dream", 1963), and finally Antigone (1989–1991, after Sophocles). In 2005 his 1964 book on twentieth-century music was published in English translation as Music of the Twentieth Century: A Study of Its Elements and Structure (Amsterdam: University Press, 1995), also in Swedish and German.

Olivier Messiaen wrote about his later works: 'Ton de Leeuw’s music is essentially diatonic. He uses modes, melodic lines, counterpoints, chords, but it all remains diatonic. Hardly any discords. The colour white, or just a shade bluish, sometimes a golden light is added. Treatment of the 12 voices in his work about the “Cantique des Cantiques” [Song of Songs] also remains diatonic, both in his pianissimo and forte. His work on part of “l’Apocalypse” [The Book of Revelation] provides a new timbral element with staccato of the horn and the clarinet. Plainsong is introduced in his “Psaumes pour la Messe des Morts” [Psalms for the Requiem Mass], as well as dramatic effects where the beating of the tam-tam comes up against the ostinatos of the marimba, against the calls of the female voice. There are even bunches of chords with the use of modes. But the spirit always remains diatonic in a static way that is very close to the type of oriental music which penetrates the listener and gets him into a semi-oneiric state, the state of a waking dream.'

Selected recordings

Notes

  1. ↑ Grove gives the wrong date in one place, besides "UCLA, Berkeley" for UC Berkeley

References

  1. ↑ [Author], [Title], Baker's Biographical Dictionary of Music and Musicians, seventh edition, edited by Nicolas Slonimsky (New York: Schirmer Books; London: Collier Macmillan, 1984)
  2. ↑ Vincent McDermott, "Current Chronicle: The Netherlands", The Musical Quarterly 52, no. 4 (October 1966): 511–20; citation on 517–18.

Further reading

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