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Jan Koetsier (1911-2006)

The Dutch composer and conductor, Jan Koetsier, most of whose life’s work took place in Germany, passed away end of April, 2006, in Munich, shortly before his 95th birthday. He leaves a considerable volume of works, especially for brass players for whom he wrote pieces that are today included in the world repertoire (i.e. the Brass Symphony, which was written in 1979 for the Philip Jones Brass Ensemble). His pleasant neo-baroque writing, with its colorful injections of humor, was far removed from prevailing avant-garde trends, instead offering, in perpetuity, joyful musical moments for performers and audiences alike.
For many years Editions Bim has collaborated with Jan Koetsier, publishing some of his finest brass works. We remember him as a dignified man possessing an engaging and refreshing musical talent.
See all works published by Editions Bim
(See also Brass Bulletin No. 72, 1990 "Jan Koetsier, composer for the glory of the brasses" by Jean-Pierre Mathez - © 1990 by Brass Bulletin)

I didn't know either. That's too bad, I discovered Koetsier's music in grad school and everything I've listened to and studied has been of very high quality. Anyone looking for something different to play should look into his music.

When I performed Koetsier's Galgenlieder with my wife, the audience consisted entirely of non-brass players who had never heard of him. I discovered that he spent a substantial number of years as a conductor of major European orchestras in association with William Mengelberg and Eugen Jochum (no slouches, they!).

Yeah,
I really like his music. Has anyone played his tuba quartet (I think he has a brass quintet too, anyone know that either?)
Bill

Tubadork wrote:Yeah,
I really like his music. Has anyone played his tuba quartet (I think he has a brass quintet too, anyone know that either?)
Bill

Yes, my quartet has played his "Wolkenschatten" as well as the "Scherzo and Chorale" for trombone quartet. I have heard the brass quintet, but never played it.

There are a several quintets. The ones I kow of are a piece titled Quintet, as well as Quintet Lirico(which we played in the AGFB BQ), a quintet based on a children's theme, as well as a concerto for BQ and orchestra. Das Rhenquintett recorded a CD titled Hommage to Koetsier that has these pieces on it.

Not to put a dark cloud over this party, but Koetsier was quite active in the Nazi party, and shared their views of how the world ought to be. That's why he lived the vast majority of his life in Germany instead of Holland where he was born.

Uncle "thinking Nazis don't deserve respect, even if they can compose a little music" Beer

UncleBeer wrote:Not to put a dark cloud over this party, but Koetsier was quite active in the Nazi party, and shared their views of how the world ought to be. That's why he lived the vast majority of his life in Germany instead of Holland where he was born.

Uncle "thinking Nazis don't deserve respect, even if they can compose a little music" Beer

wow, I have never hear of that, where did you get this info? (Not that I don't believe you, just would like to do a little hunting on my own). Did he ever denouce his affiliation or admit some sort of guilt?
Wow, you learn something new every day, good now I don't have to learn again until tomorrow!
Bill

I remember when Herbert von Karajan died. Very little was ever said about his activities with the German political forces during World War II. And, frankly, they didn't have to be said. Not being Jewish, he didn't have to flee for his life. He already had a job and he did nothing to upset any parties... except he remained quiet through the whole thing. I think many good people suffered after World War II because they remained productive during the war and appeared to be working with the Nazi party. I don't know that Koetsier was active in the Nazi party. Maybe he was just like Herr von Karajan and didn't upset anyone... on either side.

UncleBeer wrote:Not to put a dark cloud over this party, but Koetsier was quite active in the Nazi party, and shared their views of how the world ought to be. That's why he lived the vast majority of his life in Germany instead of Holland where he was born.

Uncle "thinking Nazis don't deserve respect, even if they can compose a little music" Beer

Where did you get this information UncleBeer? I've looked at several sources and I can't find anything about this. Are there any of his writings or statements the confirm these claims?

His article in New Grove said this:

In 1942 he was appointed second conductor of the Concertgebouw Orchestra in Amsterdam under Mengelberg. Not entirely free of controversy because of his conducting during the German occupation, he remained in this post until 1948. A year later he became second conductor of the Residentie-Orkest in The Hague and a teacher at the Conservatory there. In 1950, Koetsier settled in the Federal Republic of Germany, where he became conductor of the newly established Bavarian RSO. From 1966 until he retired in 1976 he was professor of conducting at the Munich Hochschule für Musik.

All this implies to me is that he took the path of Von Karajan and:

LoyalTubist wrote:remained productive during the war and appeared to be working with the Nazi party.

....but you might know something I don't?

Dan Castillo wrote:Where did you get this information UncleBeer? I've looked at several sources and I can't find anything about this. Are there any of his writings or statements the confirm these claims?

After WWII, many countries formed commissions to deal with their own enemy collaborators. Holland had the Honor Council of Music ("Ereraad"). Koetsier was originally sentenced to ten years of shunning (no musical activities in public; conducting, composing, or performing) for his collaborative efforts. This sentence was eventually reduced to one year.

He was convicted of not only not offering any resistance to the occupiers, but actively seeking their favor in order to further his musical career.

Documentation here: http://www.hetorgel.nl/orgelkrant.pdf (how's yer Dutch?)

Lisa,
Great art is great art. I suspect that what you are questioning is the notion that someone capable of great art should not have to compromise that creation, but think of ways that would baffle the small and horrific minds of people like the nazis.

Not being capable of such art myself, I do not have an answer, but I think that regardless of the endeavor, we all have feet of clay to some degree or another. How much is acceptable is for far deeper minds than I.

windshieldbug wrote:Lisa,
Great art is great art. I suspect that what you are questioning is the notion that someone capable of great art should not have to compromise that creation, but think of ways that would baffle the small and horrific minds of people like the nazis.

Not being capable of such art myself, I do not have an answer, but I think that regardless of the endeavor, we all have feet of clay to some degree or another. How much is acceptable is for far deeper minds than I.

She touched on that with the comment on politics and music, but also opened a huge philosophical can of worms about art - does the artist matter in any way, or only the art? If you see or hear something that works for you - picture of a flower, sonata, whatever - and then later find out that its author was thoroughly repugnant and surely was inspired by something loathsome, I guess from a philosophical point of view it would be convenient to be able to say "it makes no difference."

Otherwise, it's hard to sort everything out. Do I have to care whether Charles Mingus had a violent temper, etc.? What if Bach beat his kids, but everyone did back then? Is that worse than sucking up to the Nazis? How much can we even know about everyone?

...just thought it might be appropriate in this thread to let folks know that I've recently released a CD recording of all 7 of Koetsier's tuba solos (all with varying accompaniment) on the Summit Records label.

To learn more about the disc, hear sound clips, and/or order a copy follow this link:

viewtopic.php?t=15849

-Mike Forbes