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ANDRE DOUW

Summary | Biography | Discography | Photos | Audio/Video

Period

1951 - current

Genre

contemporary classical music

Biography André Douw

André Douw was born on April 30, 1951. Musical education He studied piano, music theory and composition with Jan van Vlijmen, Peter Schat and Louis Andriessen at The Hague Royal Conservatory of Music. In 1975 he undertook his piano exams with Gérard van Blerk; his study of music theory was completed in ...
Full biography

Biography André Douw

1951

André Douw was born on April 30, 1951.

Musical education
He studied piano, music theory and composition with Jan van Vlijmen, Peter Schat and Louis Andriessen at The Hague Royal Conservatory of Music. In 1975 he undertook his piano exams with Gérard van Blerk; his study of music theory was completed in 1977. From 1979 to 1980 he studied composition with Toru Takemitsu in Tokyo.


Activities

Douw taught music theory and composition at the Hilversum Conservatory of Music. In 1990 he was in California for research, preparing a thesis on Stravinsky's composition techniques in his final, serial period (1954-1966). This thesis was published in 1995: The construction of order and direction in Igor Stravinsky's In Memoriam Dylan Thomas, Canticum Sacrum and Threni. At present he is head of the composition department at the Conservatory of Music in Amsterdam.


Compositions

His works include chamber music as well as orchestral and large-scale vocal works. In paradiso (1980), for a cappella choir, was written for the Tokyo Philharmonic Chorus. Styx (1982), for violin and string orchestra, was commissioned by the Nederlands Kamerorkest (Dutch Chamber Orchestra). For the 65th anniversary of the K.R.O. broadcast company he composed Ave Maria (1989), for contralto, tenor, choir and orchestra.


Publications

In 1994 he published an article on Symposion, the opera by Peter Schat and Gerrit Komrij, in the periodical Mens & Melodie.

A. Douw
1997

In the discography you will find all recordings that have been released listed chronologically. We restrict ourselves to the title, the type of audio, year of publication or recording, label, list of guest musicians, plus any comments on the issue.

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