Peter Benoit - Symphonic Poem for Flute and Orchestra, Op. 43a (1865)

Peter Benoit (17 August 1834 – 8 March 1901), was a Flemish composer of Belgian nationality. Please support my channel: https://ko-fi.com/bartjebartmans Symphonisch gedicht voor fluit en orkest, Op. 43a (1865) Dedication: Jean Dumon and Théophile Anthoni 1. Dwaallichten (Feux follets) (0:00) 2. Melancholia (5:32) 3. Dwaallichtendans (Danse des follets) (11:48) Kathinka Pasveer, flute and Staatsorchester Rheinland-Pfalz conducted by James Lockhardt Benoit passionately pursued the founding of an entirely separate Flemish school, and to that purpose even changed his name from the French "Pierre" to the Dutch equivalent "Peter". Through prodigious effort he succeeded in gathering a small group of enthusiasts who recognized with him the potential for a Flemish school that would differ completely from the French and German schools. However these intentions failed, as the school's faith was tied too closely to Benoit's music, which was hardly more Flemish than it was French or German. Benoit's most important compositions include the Flemish oratorios De Schelde (The river Scheldt) and Lucifer (which met complete failure when it was staged in London in 1888), the operas Het Dorp in 't Gebergte (The village in the mountains) and Isa, and the Drama Christi, a huge body of songs, choruses, small cantatas and motets. Benoit also wrote a great number of essays on musical matters. Kathinka Pasveer was born in Zaandam, The Netherlands, daughter of the conductor Jan Pasveer, who also taught at the Amsterdam Conservatory. She studied with Frans Vester at the Royal Conservatory of The Hague, where she received her performer's diploma, with the distinction of the Nicolai Prize in 1983. During her final year of studies she was the principal flutist of the Gewestelijk Orkest Zuid-Holland. From 1998 up to the present time, Pasveer has taught the interpretation of Stockhausen's works at the Stockhausen Courses for New Music held each summer in Kürten. Beginning in 1983, she assisted Stockhausen in the production of recordings and learned from him the techniques of sound projection used in most of his works. Since the composer’s death, she has acted as sound projectionist in many live performances, and has produced and mixed down all the recordings in the Stockhausen Complete Edition. Stockhausen also entrusted her, together with Antonio Pérez-Abellán, with the production of the sound loops in the 24 individual layers of his electronic work Cosmic Pulses in 2006. Together with Suzanne Stephens, she is in charge of Stockhausen's legacy as a director of the Stockhausen Foundation for Music. Harpist Marianne Smit is her niece.