07-11-1939 - current
Daan Manneke began his musical career as an organist and he later became a teacher at the Amsterdam Conservatory. His music, written largely on commission, consists mostly of sacred and chamber music. “An essential part of Daan Manneke's musical thinking is his great interest in improvisation, the other side ...
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Biography Daan Manneke
Daan Manneke began his musical career as an organist and he later became a teacher at the Amsterdam Conservatory. His music, written largely on commission, consists mostly of sacred and chamber music. “An essential part of Daan Manneke's musical thinking is his great interest in improvisation, the other side of the often organically grown, strict form. Action versus reflection, intuition versus balanced form.” (Gerard van der Leeuw) Manneke's main sources of inspiration are, in his own words “the 12th-century Notre Dame School of composers, the Renaissance, particularly Josquin, the Venetian school (Willaert, the Gabrielis, Monteverdi, and Heinrich Schütz), Bach, and Bach again, Bruckner; Scelsi, (late) Stravinsky, (all of) Messiaen, Xenakis, and time and again folk music from wherever”. He takes pride in the compliment he received from the music magazine Luister: “Daan Manneke is the Sweelinck of the 20th century”.
Daan Manneke (born November 7, 1939, in Kruinigen, Zeeland) becomes the organist at St. Gertrudiskerk in Bergen op Zoom.
1963 - 1967
He studies the organ with Huub Houët and Louis Toebosch and composition with Jan van Dijk at the Brabant Conservatory.
He continues studying the organ with Kamiel D'Hooghe in Bruges and Brussels and composition with Ton de Leeuw in Amsterdam. De Leeuw (“a lifelong source of inspiration”, Manneke says) encompasses for him the world of non-Western music. The two develop a lasting friendship.
Upon completing his studies, Manneke receives the Prize for Composition. Through De Leeuw, he gets the opportunity to have lessons with Olivier Messiaen. The Province of Zeeland awards him its prize for young artists.
Manneke begins teaching improvisation and analysis of 20th-century music at Amsterdam's Sweelinck Conservatory.
He founds and conducts the Cappella Breda chamber choir, and presents with them highly diverse programmes, varying from Venetian polychoral pieces to music by Anton Bruckner, Arvo Pärt, and Renaissance composers.
1977 - 1978
He receives the Fonteyn-Tuynhout Prize for his composition Three Times (1947). He writes the Werkboek voor improvisatie en groepscompositie [Workbook for Improvisation and Collective Composition], published by Annie Bank in Amsterdam.
1980 - 1985
He is awarded the Hilvarenbeek Music Prize for his organ piece Pneoo (1979) and in 1985 receives Tilburg's prize for composition for Er vallen stukken [1985, Pieces Are Falling] for carillon.
Manneke becomes a composition teacher at the Sweelinck Conservatory. Regarding his musical preferences, he says: “'Atonal' and 'tonal' are dangerous words. Perhaps the best way to put is: The classical harmonic system of Rameau, with its dominant-tonic relationship, is merely one of the tonality's many facets. Strict atonality, to nevertheless use the word, is something I feel no connection with. I don't believe in atonality.”
Manneke gives several lectures and workshops in Mexico City. “[...] and along with this, I conducted the cathedral choir in music by various Burgundian composers – Josquin, Dufay and Lassus – and compositons by two contemporary Mexican composers and by me. Rarely have I had such a thoroughly unorthodox, spontaneous and exuberant musical experience as then. I encountered much less consciousness of streams, styles and dividing lines than at home.” He is awarded the North Brabant Culture Prize.
Manneke works on his “most difficult assignment ever”, Momentum, a requiem for Bach. The commission comes from the Netherlands Bach Ensemble and the vocal ensemble Quink in honour of the 250th anniversary of Bach's death. “I won't make another piece like it,” he says in an interview with Anthony Fiumara. “I worked for a year on it, destroyed vast passages and rewrote them, and ultimately got sold on it. It has become a true magnum opus.” He is made a Knight in the Order of the Netherlands Lion.
In celebration of his 70th birthday, in September, the “Daan Manneke 70 jaar” festival is held in Breda, in coordination with the Breda Organ Concert Foundation – concerts are also given elsewhere for the occasion. A book about the importance of his work – Daan Manneke, componist van de ruimte [Daan Manneke, Composer of Space] is presented during the festival. In it, twelve authors give their view of his significance in Dutch contemporary musical life. Rokus de Groot writes: “Those who know Daan Manneke as a composer, organist, conductor, teacher, friend, are struck by his fervent inspiration. His doings reflect his view of life. For him, there is no discrepancy between spiritual and material. Like the Sufi teacher Inayat Khan, he looks upon material as the result of vibrations of subtle sound, in a process of condensation of the spiritual.” Manneke is awarded the Oeuvre Prize by the city of Breda. “In his quest for synthesis between control and impulsiveness, between rationality and emotion, Manneke provides unpredictable compositions. Honoured in the Netherlands and abroad. A Bredan to be proud of.” (from the jury report)
Discography Daan Manneke
Amstel Quartet - Straigt Lines
|Type and year||CD, 2002|
Sytse Buwalda - Sacred Arias
|Type and year||CD, 2004|
|Label||Buwalda Classics, 2004-01|
|muzikant||David van Ooijen|
BRISK Recorder Quartet Amsterdam - Vintage Brisk
|Type and year||CD, 2006|
|Label||Globe Records, GLO 5220|
|componist||Huba de Graaff|
|componist||Roderik de Man|
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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