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Welcome to the new site of the Classical Composers Database, whose new name is now Musicalics. At this moment I am still working on getting everything in its place, so there may be some sharp edges here and there. I hope you will enjoy the new look and possibilities.
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Resultats pour Joseph Jongen :
Recently a new CD was released with Jongen’s flute sonata. The CD is called "Hommage à Debussy" and is played by Maurice Heugen (soloflutist Opera Zürich) and Marianne Boer (piano). The CD is available at http://www.bloomline.net/heugenboer.
<email@example.com> writes: There are two more cd’s with compositions of Joseph Jongen:
- In Flanders’ Fields vol.12 (works by Daniel-Lesur, Joseph Jongen, Wilfried Westerlinck and Willem Pelemans) performers: The Arpae ensemble. CD - Phaedra - DDD - 92012
- In Flanders’ Fields vol.30 : The complete chamber music for violoncello and piano. Performers: Karel Steylaerts,cello and Piet Kuijken, piano. CD - Phaedra - DDD - 92030
The Erard Ensemble from Holland recorded two piano trios: Op.10 and op. 30 (with viola). Released by Phaedra CD, In Flander’s Fields vol. 41. Available via http://www.erard-ensemble.nl or http://www.jpc.de
Jongen was Belgiums greatest composer after Franck, whose music was an early influence. His first successes were with chamber music (notably a large piano quartet and his 1st string quartet, which won a prize) and several orchestra works, particularly the Fantasie on Walloon Christmas Carols op.24.
Jongen’s compositional style can be divided into three periods: the first period shows the cyclic treatment of Franck and flowing modulations of Fauré. The second, from about 1910 shows a responsiveness to the impressionists, more from Debussy than Ravel. The breakthrough works are the cello sonata(1912) and the appended scherzo of the Epithalme et Scherzo for three violins and orchestra. His most famous work of this time is the Symphonie Concertante for organ and orchestra the third period, from the late thirties shows Jongen incorporating aspects of both neo-classicism (Prelude and Chaccone for string quartet op. 101, String Trio op. 135) and modernism (Piano concerto op. 127). Through all of his style changes there is a consistent, seamless blend of form, idea, and craft. He ultimately achieved an individual style, which deserves far wider exposure. (contribution by John M. Williams <firstname.lastname@example.org>