470:, a French composer of Italian birth, who stood for a sophisticated and reserved style, an idiom that De Koninck controlled in minute detail. The Italian style is more expressive and also more extroverted, but is not that prominently present in this volume. This hybrid style, however, illustrates undoubtedly the international, eclectic musical environment in Amsterdam at the end of the 17th century.
463:), of which the poet is not known by name and which are meant for a middle class public. In order to sell them better, it had emphatically been stated they were composed in the French and Italian manner; These indications on the style fit into Roger's publishing policy, as he wanted to give an international hallmark to his fund.
473:
In this volume, De
Koninck also experiments with larger and more elaborate occupations which â not surprisingly â are reminiscent of the theatre; seven songs in his collection are combined to make a dialogue of Coridon and Climene, which ends with a
442:
It is noteworthy to remark that nothing from this musical comedy was printed, while other theatre pieces with music by De
Koninck, or selected songs were published. It is not excluded that part of the music is included in the series
196:
De
Koninck was one of a group of four Amsterdam composers of foreign origin who, in the period around 1700, contributed to the temporary flowering of Dutch vocal music and whose names are linked to the bookseller
126:. He operated in circles connected to the Amsterdam Theatre and he probably worked later on as an independent musician in Amsterdam. He was a music teacher at the Lucie Quarter's French girlsâ school.
435:. This tradition continued into the 20th century, but without De Koninck's music, as his score disappeared in 1772 in the fire that destroyed the theatre; new theatre music was composed by
863:
669:
176:(1699). The short time in which Roger published the opus numbers suggests that a number of compositions might have been completed previously and had only been waiting for a
218:
198:
402:, in which machinery, instrumental music, and theatre songs had an important share. The texts of these songs came from Sweerts, Abraham Alewijn and
235:
447:, of which De Koninck was the first editor for Estienne Roger; a series of which were issued in seven volumes between 1697 and 1716 in Amsterdam.
403:
281:
636:
569:
Pieces by
Servaes de Koninck are rarely recorded on compact disc. As of 2009, the only compact disc solely devoted to his music is:
873:
738:(I can't any longer see your beautiful face, mp3) by Servaes de Koninck, sung by Liesbeth Houdijk, soprano, on Essentialvermeer.com
673:
883:
455:
A special edition within the series of seven, published by De
Koninck at Estienne Roger's editing house, was the volume with
276:
In his introduction to the art of singing and playing, Sweerts listed almost all composers (Hendrik Anders, David
Petersen,
284:
and
Servaes de Koninck) who played a part in the temporary blossoming of music using Dutch texts in the late 17th century:
615:
888:
868:
791:
783:
425:
became a piece of repertoire. It soon became a tradition to offer it as a supplement after the annual performance of
878:
750:
431:
774:- SalomĂ© â Ed. Pelckmans â Meertens Institute - Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis,
733:
554:
394:
De
Koninck, as well as Anders and Petersen, were active in a genre of the lyrical theatre pretty near to
858:
801:(The art of Dutch Song in the 17th century). Frits Noske,. Remigius Schrijver en Servaas de Koninck in
771:
589:
209:
486:
Another volume by De
Koninck, issued by Roger, and which deserves special attention, is his opus 7,
597:
546:
99:
490:(1699), in which the impact of the recent Italian musical developments is best reflected in the
848:
853:
436:
426:
229:
119:
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8:
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467:
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and in the increased share of instruments in continuous dialogue with the singers. The
831:(Dutch Music from Albicastro to Zweers), Pay-Uun Hiu and Jolande van der Klis (ed.),
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779:
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69:. After training and starting his career in Flanders he moved to Amsterdam in the
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94:) in 1653. From 1663 to 1665, he was a boy chorister at St. James Church in
503:
165:
575:
Ah! I wish I were a little dog! Love and
Drinking Songs of the Netherlands
767:
157:
130:
87:
181:
816:(The Art of Dutch Song in Amsterdam about 1700), Part 3, Utrecht, 1991
775:
243:
185:
177:
73:, where he was active in circles connected to the Amsterdam Theatre.
213:
81:
519:
418:
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180:. Apart from this collection, a number of compositions are kept in
103:
91:
806:
832:
803:
Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis
421:
is attributed to Buysero, became a resounding success. The short
150:
66:
667:
was buried 15 July 1701 at the Karthuizer cemetery in Amsterdam
534:
526:
225:
138:
581:
A number of other compact discs include music by De Koninck:
515:
507:
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422:
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269:) in 1695. In 1705 Alewijn and Sweerts were the poets in the
173:
161:
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95:
40:
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compositions are influenced by Petersen and Schenck. In his
511:
475:
380:
Which, elevated to become art, are a delight to all of us.â
345:âIn a very accurate way, ANDERS made possible Dutch lyrics,
47:
864:
Emigrants from the Holy Roman Empire to the Dutch Republic
118:, where he had been preceded by another composer from the
557:, De Koninck saw himself as an advocate of the so-called
370:
That each one should honour his own language even more:
355:
And it seems as if he would not reach in both languages
257:), issued by Cornelis Sweerts in 1697, while Ferdinand
301:âHeel stip heeft ANDERS daar in ât Neerduits op gelet,
290:
Cornelis Sweerts on the Dutch composers of his time:
191:
114:
About 1685, he took up residence in Amsterdam in the
321:
Ook doen ons PETERZEN en SCHENK op ât klaarste zien,
316:
Niet zo veel glorie als in ât Neerduits zou behalen:
273:, set to music by Petersen, Anders, and De Koninck.
762:1700 (Singing in a small language around 1700), in
306:
Dat die naar de Italjaanse en Franschen trant gezet
205:. In addition to De Koninck, the circle comprised:
807:Royal Society for Music History of The Netherlands
577:, by Dopo Emilio, Emergo Classics EC 3961â2, 1993.
326:Dat elk zijn eigen spraak meer eere hoort te bien:
311:Kan werden: en het blijkt, dat hij in beide taalen
331:Zoo zijn âer van ROZIER en KONING braave stukken,
261:had already set texts to music by Sweerts in the
82:Youth and education in the Southern Low Countries
840:
375:Thus, there are nice pieces by ROZIER and KONING
336:Die opgezongen naar de kunst, elkeen verrukken.â
249:Songs by Anders and De Koninck appeared in the
625:, Vanguard Classics, 1995 (De Koninck's motet
365:Also, PETERZEN and SCHENK make us understand,
350:To be adapted to the French and Italian style
829:Nederlandse muziek van Albicastro tot Zweers
814:Nederlandse liedkunst in Amsterdam rond 1700
799:Nederlandse liedkunst in de zeventiende eeuw
809:), D. 34rd, Ep. 1st (1984), pp. 49â67
450:
742:
706:Zaamen-Spraak tusschen Coridon en Climene
643:, 1995 (De Koninck's Dutch drinking song
109:
360:As much glory as in the Dutch language:
129:Between 1696 and 1699, he issued seven
841:
764:Een muziekgeschiedenis der Nederlanden
694:Fransche Manier en Italiaansche Manier
612:Four Dutch Composers of the Golden Age
98:. In 1675, he became a student at the
735:Ik kan uw schoon gezicht niet langer
415:The Flirtation of Cloris and Rosette
170:Hollandsche Minne- en Drinkliederen
13:
670:"Begraafregisters voor 1811, Zoek"
389:
192:The circle around Cornelis Sweerts
14:
900:
724:
457:Hollandse Minne- en Drinkliederen
293:Approximate English translation:
172:(also from 1697) and a volume of
86:De Koninck (Coninck) was born at
35:(1653/54 â c.1701) was a Flemish
481:
271:Boertige en ernstige minnezangen
164:to music (1697), two volumes of
76:
874:Old University of Leuven alumni
411:De Vryadje van Cloris en Roosje
884:Dutch male classical composers
827:(The Hundred Composers Book).
760:Zingen in een kleine taal rond
710:
699:
687:
657:
564:
502:, especially in the two small
267:The Second Part of Mixed Songs
184:and print. De Koninck died in
1:
751:New Grove Dictionary of Music
529:demonstrate the influence of
518:motets recall the composer's
461:Dutch Love and Drinking Songs
137:in Amsterdam: two volumes of
466:The French manner refers to
263:Tweede deel der Mengelzangen
160:of which De Koninck set the
7:
786:(for Belgium Ed. Pelckmans
600:, 1998 (De Koninck's motet
212:(ca. 1651-after 1709) from
102:. Around 1680, he lived in
10:
905:
825:Het HonderdComponistenBoek
772:Amsterdam University Press
770:), Ed. Louis Peter Grijp,
889:Dutch classical composers
869:Flemish Baroque composers
549:ever seem far away. Like
445:De Hollantsche Schouburgh
766:(A Music History of the
651:
406:. In 1688, De Koninck's
251:Verscheide Nieuwe Zangen
879:People from Dendermonde
478:in the Italian manner.
451:Love and Drinking Songs
743:References and sources
647:, In the little glass)
432:Gijsbrecht van Aemstel
224:(ca. 1655â1710), from
110:Career in the Republic
586:Saints & Sinners
573:Servaas de Koninck.
437:Bartholomeus Ruloffs
230:Southern Netherlands
120:Southern Netherlands
100:University of Leuven
812:Anthony Zielhorst,
496:Blessed Virgin Mary
488:Sacrarum armoniarum
468:Jean-Baptiste Lully
821:Servaes de Koninck
665:Servaas de Koninck
633:Musica Neerlandica
616:Ensemble Bouzignac
590:Cappella Figuralis
219:Nicholas Ferdinand
33:Servaes de Coninck
25:Servaas de Koninck
17:Servaes de Koninck
859:Flemish composers
594:Jos van Veldhoven
387:
386:
255:Several New Songs
238:(1657â1714) from
145:with and without
29:Servaas de Konink
21:Servaes de Konink
896:
758:Pieter Dirksen,
719:
717:op zyn Italiaans
714:
708:
703:
697:
691:
685:
684:
682:
681:
672:. Archived from
661:
627:Mortales sperate
598:Channel Classics
539:incidental music
500:Mortales Sperate
417:), of which the
287:
286:
278:Johannes Schenck
199:Cornelis Sweerts
141:for one and two
124:Carolus Hacquart
56:incidental music
37:baroque composer
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645:In het glaasjen
637:Apollo Ensemble
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484:
453:
392:
390:Lyrical theatre
203:Abraham Alewijn
194:
133:, published by
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84:
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12:
11:
5:
902:
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837:
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819:Rudolf Rasch,
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726:
725:External links
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641:Max van Egmond
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623:Erik Van Nevel
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236:Hendrik Anders
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210:David Petersen
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147:basso continuo
135:Estienne Roger
116:Dutch Republic
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71:Dutch Republic
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797:Frits Noske,
796:
793:
792:90-2893-000-0
789:
785:
784:90-5356-488-8
781:
777:
773:
769:
765:
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754:
753:and Musicians
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747:
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676:on 2010-04-17
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606:De Elevatione
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525:De Koninck's
523:
521:
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505:
504:da capo arias
501:
497:
493:
489:
482:Other volumes
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462:
458:
448:
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404:Dirck Buysero
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849:1650s births
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729:Audio File:
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678:. Retrieved
674:the original
664:
659:
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632:
626:
611:
605:
602:Venite ad me
601:
585:
580:
574:
568:
559:goĂ»ts rĂ©ĂŒnis
558:
545:, Lully nor
542:
533:, while his
524:
522:background.
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240:OberweiĂbach
221:
195:
169:
153:
131:opus numbers
128:
113:
85:
32:
28:
24:
20:
16:
15:
854:1701 deaths
768:Netherlands
565:Discography
555:Clérambault
547:Charpentier
282:Carl Rosier
158:Jean Racine
88:Dendermonde
843:Categories
680:2013-08-09
182:manuscript
776:Amsterdam
755:, London,
621:, led by
592:, led by
244:Thuringia
186:Amsterdam
178:publisher
62:airs and
778:, 2001,
551:Couperin
520:Catholic
419:libretto
408:pastoral
400:Zangspel
259:le Grand
222:le Grand
104:Brussels
92:Flanders
67:cantatas
833:Haarlem
619:Utrecht
543:Athalie
531:Corelli
527:sonatas
494:to the
228:or the
154:Athalie
151:tragedy
139:sonatas
64:Italian
52:chamber
835:, 1997
790:
782:
639:&
535:violin
427:Vondel
398:, the
226:France
214:LĂŒbeck
174:motets
168:, the
162:choirs
149:, the
143:flutes
60:French
41:motets
652:Notes
588:, by
516:Latin
508:tenor
492:motet
423:farce
396:opera
166:trios
96:Ghent
48:songs
45:Dutch
31:, or
19:, or
788:ISBN
780:ISBN
749:The
553:and
541:for
512:alto
510:and
506:for
476:duet
54:and
823:in
429:âs
232:and
156:by
39:of
27:or
845::
663:A
635:,
614:,
608:))
596:,
561:.
498:,
439:.
280:,
242:,
122:,
106:.
58:,
50:,
43:,
23:,
805:(
794:)
696:.
683:.
629:)
604:(
459:(
413:(
265:(
253:(
90:(
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