Composer Cornelis de Bondt took the title of his five-part cycle (for varying line-ups) "The Broken Ear" from the Tintin album of the same name. For De Bondt, this 'broken ear' is the symbol of the alleged loss of classical tonality, as it was formulated roughly by Rameau in the 18th century and eventually brought down by Schoenberg. The reference to Tintin does not mean, however, that this music
… is as easy to digest as a comic book album. In each part, De Bondt explores, as it were, a 'music-historical fetish' (as Elmer Schonberger typifies it) from the past, just as Tintin is in the story looking for a stolen idol with a broken ear. Thus in "The doors closed" come the funeral march from Beethoven's " For many listeners this (de) constructed music will at first hearing (!) Seem just as desolate as the new building around the Hague conservatory, where De Bondt was trained as a scion of the Hague school. Nevertheless, this music commands respect when listened to repeatedly, which makes the characterization 'a homage full of moving power' by Volkskrant critic Hans Heg understandable. Performers include the Schoenberg Ensemble, the Netherlands Wind Ensemble, the Orkest de Volharding and pianist Gerard Bouwhuis. See also the article that Mens en Melodie devoted to this cycle (May 1998). (HJ) _ For many listeners this (de) constructed music will at first hearing (!) Seem just as desolate as the new building around the Hague conservatory, where De Bondt was trained as a scion of the Hague school. Nevertheless, this music commands respect when listened to repeatedly, which makes the characterization 'a homage full of moving power' by Volkskrant critic Hans Heg understandable. Performers include the Schoenberg Ensemble, the Netherlands Wind Ensemble, the Orkest de Volharding and pianist Gerard Bouwhuis. See also the article that Mens en Melodie devoted to this cycle (May 1998). (HJ) _ which makes the characterization 'a homage full of moving power' by Volkskrant critic Hans Heg understandable. Performers include the Schoenberg Ensemble, the Netherlands Wind Ensemble, the Orkest de Volharding and pianist Gerard Bouwhuis. See also the article that Mens en Melodie devoted to this cycle (May 1998). (HJ) _ which makes the characterization 'a homage full of moving power' by Volkskrant critic Hans Heg understandable. Performers include the Schoenberg Ensemble, the Netherlands Wind Ensemble, the Orkest de Volharding and pianist Gerard Bouwhuis. See also the article that Mens en Melodie devoted to this cycle (May 1998). (HJ) _more
