Theo Verbey – Five Pieces for Violoncello

Emanuel Overbeeke, from Opus Klassie

'In his final years, Verbey became more and more a composer of substantial forms with a classical instinct for proportion and with a neo-tonal character, in both harmony and gesture. These five pieces are not what you'd call substantial (the shortest lasts a minute, the longest less than three). But they are unmistakably neo-tonal in the broadest…

BBC Music Magazine review of Stravinsky: Les Noces

Daniel Jaffé, from BBC Music Magazine

"Of all his ballets, Stravinsky’s Les Noces – an evocation of Russian peasant wedding rituals – was the one he laboured over longest as he changed his mind several times about its instrumentation. Here, for the first time, is a recording of the entire ballet-cantata using the line-up Stravinsky favoured but reluctantly abandoned in 1919. [...]…

Stravinsky: Les Noces; Ravel: Boléro review – honouring the composer’s complex intentions

Andrew Clements, from The Guardian

Ensemble Aedes/Les Siècles/Romano An early unfinished version of the 1923 landmark work, completed by Theo Verbey almost 100 years after Stravinsky conceived it, is earthy, lean and superbly performed. [...] "Stravinsky had first conceived the idea of a ballet based on the wedding rituals of Russian peasants in 1913. He completed the short score…

The new music recorded by the Royal Concertgebouw Orchestra gives little indication that a crisis was taking place. ★★★★☆

Guido van Oorschot, from de Volkskrant

"[...] Four youngsters nestle between the perfect beauty of Theo Verbey, who died in 2019, and the funny beauty of Martijn Padding.[...]"

EBENBILD: ” A polished gem, this album is truly a heightened experience.”

Melissa Scott, from The WholeNote

Ebenbild Juri Vallentin; Trio d’Iroise; Bernward Lohr; Caroline Junghanns PASCHEN Records PR 220072 ( 'Only to be described as unique and colourfully unconventional, the newly released album Ebenbild, featuring oboist Juri Vallentin and the Trio d’Iroise, is a blend of recited song text, choruses by J.S. Bach,…

The Quest of Oboist Juri Vallentin Becomes a Listening Adventure

Guido van Oorschot, translated by E.J. Stevens, from de Volkskrant

★★★★☆ Although you might not suspect it when immersed in Bach's St Matthew Passion, the chorale melody that is played after Jesus is mocked and beaten, O Haupt voll Blut und Wunden, comes from a 16th-century love song. Mein G'müth ist mir verwirret, I am confused because of a damsel. The German oboist Juri Vallentin discovered that after Bach's…

Santtu-Matias Rouvali makes versatile debut with the Royal Concertgebouw Orchestra

Jenny Camilleri, from Opera Today

... Ariadne, like Verdi’s overture, combines transparent lyricism with dramatic progression. Starting out with fragile flute figures, it swells to include the full complement of strings. When the whole range of the brass comes in with a driving motif, there is sinister menace. The piece constantly changes colour and texture, making use of the…

Gloriously Rocking Chameleon

Gwendoline Thornblade, from Boston Musical Intelligencer

"Boldin dedicated the concert to the Dutch composer Theo Verbey, who died in October. His Four preludes to Infinity for oboe, violin, viola and cello came right after intermission. Each prelude recalls and recognizes the music of former times and celebrates its perpetual existence: “Mysterious” — the Second Viennese School of Schoenberg, Berg and…

Invitation to a Beheading

Roeland Haendonk, translated by Anne Hodgkinson, from Het Parool

Everything that Theo Verbey does sounds terrific. It is well constructed, always has a well-structured dramatic narrative line, and is equally well elaborated in subtle instrumental colors. Verbey uses this technical skill to make music that sounds understatedly natural, looking back with a touch of melancholy. Verbey has withdrawn to his own…

Introdans fits loosely beneath the umbrella of the Moderne Meisjes (‘Modern Girls’) program

David Levie, translated by Emma Rault, from Apeldoorn Direct

... After the interval, the caliber is maintained as the vibe becomes playful, thanks to Regina van Berkel and a functional decor in the form of a spine from prehistoric times when giant reptiles populated this Earth. She was inspired by Salvador Dali, which does not come without its risks. Introdans’ performers more than hold their own, however.…