1933–2016
Bernard van Beurden was a Dutch composer and music educator, known for his wide-ranging contributions to music, from symphonic works to chamber music and compositions for theater. He studied violin, viola, and composition at the Amsterdam Conservatory under Rudolf Escher and Ton de Leeuw. Throughout his career, Van Beurden composed a variety of works, including music for symphony and string orchestras, theater, and ballet, as well as chamber music for diverse instruments, choirs, and wind ensembles. He was particularly dedicated to advancing repertoire for amateur music-making.
In addition to his compositions, Van Beurden was active as a music educator, teaching at various institutions such as the Amsterdam Theaterschool and the Rotterdam Conservatory. He authored the successful “Werkboek voor muziek van nu” (1974), which became widely used in music education in the 1970s and 1980s, even being translated into Swedish.
A significant milestone in his career came in 1978 when he won the RAI prize at the Prix Italia for his Radiofonisch Oratorium “BAJESMAF.” His works were performed not only in the Netherlands but also internationally, including in the U.S.
Van Beurden received the prestigious title of Officer in the Order of Orange-Nassau in 2003 for his contributions to music. He continued composing until his death in 2016, including his last works for soprano and brass quintet.
His string trio he wrote in 2000 for the Trinitas Trio is clearly
Bernard van Beurden’s String Trio is a remarkable piece that reflects the composer’s deep love and understanding of string instruments, undoubtedly influenced by his own background as a viola player. Composed in 2000 for the Trinitas Trio, this three-movement work spans around 10 minutes and demonstrates his skillful use of the trio format, making it sound as if more than just three players are involved.
The trio begins with a significant opening chord that sets the tonal foundation for the entire piece. This initial gesture is revisited and explored throughout, giving the work cohesion. The second movement holds personal significance for Van Beurden, as it prominently features the viola, his own instrument, allowing it to take center stage with a lyrical and expressive voice. This movement showcases the warm, rich timbre of the viola, highlighting the emotional depth Van Beurden could evoke through his intimate knowledge of the instrument.
The final movement employs numerous double stops. This technique adds a symphonic quality to the sound, making the trio feel much larger and more expansive than a typical string trio. The resulting effect is a rich, full-bodied finale that creates a powerful, orchestral-like conclusion to the piece.
Van Beurden’s String Trio is a testament to his ability to stretch the boundaries of chamber music and fully exploit the expressive capabilities of string instruments.
Trio á cordes (2000) world première
recorded on June 16th 2000 in the Statenzaal of Dordrecht
Written in 2003, Concertante Muziek II is structured as a dialogue between the solo violin and viola and the surrounding wind orchestra. This concertante style, where soloists interact prominently with the ensemble, highlights van Beurden’s ability to bring both instruments’ expressive capabilities to the forefront. The music alternates between lyrical, melodic passages and rhythmic, driving sections that showcase the technical virtuosity of both the soloists and the ensemble.
Recording made 29th of April 1995 Frank de Groot violin, Karin Dolman viola, Royal Harmony Cecilia Prinsenhage, Carlo Balemans conductor