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MAX VREDENBURG

Summary | Biography | Discography | Photos | Audio/Video

Period

16-01-1904 - 09-08-1976

Genre

componist, contemporary classical music, score

Biography Max Vredenburg

Max Vredenburg was born in Brussels (Belgium) on January 16, 1904. He died on August 9, 1976 in Hilversum (The Netherlands). He studied theory and composition with Henri Geraredts in The Hague and continued his studies in 1926 in Paris with Paul Dukas, where he came into contact with Albert Roussel.
Full biography

Instruments

componist

Biography Max Vredenburg

1904 - 1976

Max Vredenburg was born in Brussels (Belgium) on January 16, 1904. He died on August 9, 1976 in Hilversum (The Netherlands).

He studied theory and composition with Henri Geraredts in The Hague and continued his studies in 1926 in Paris with Paul Dukas, where he came into contact with Albert Roussel.

Vredeburg settled in The Hague, participating in the founding of a study circle for modern music. He became the music correspondent of the Nieuwe Rotterdamse Courant in Paris (1936-1940). He took refuge for World War Two to Indonesia where he survived a Japanese internment camp. On his return to the Netherlands he settled in Amsterdam becoming music critic of the daily Het Vrije Volk. From 1953 till 1969 Vredenburg was the managing director of the Dutch branch of the Fédération Internationale des Jeunesses Musicales. In 1957 he took the initiative of establishing the National Youth Orchestra together with conductor Nico Hermans.

A French orientation can always be observed in his music. At first Vredenburg specialized in film music ('De Branding' of Joris Ivens, 'Spiegel van Holland' of Bert Haanstra). In 1948 he wrote the music for the open-air performance 'In Neerlands Tuin' in the Amsterdam Olympic Stadium on the occasion of the Queens golden jubilee. Amongst his works are compositions for youth orchestra ('Suite dansante'), chamber music and songs ('Au pays des vendanges').

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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