Ank Reinders: Biography
Ank Reinders: Discography
Ank Reinders: Chronology (1954-1966)
Ank Reinders: Chronology (1967-1981)
Ank Reinders: Chronology publications

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1962

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1964 

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1966 

1. Händel: Judas Maccabeus ‘Oh, let eternal honours crown his name… From mighty kings he took the spoil’ (Nr. 33-34. Recitative and aria Israelitish Woman)
2. Händel: Judas Maccabeus ‘Oh, grant it, Heav’n…. So shall the lute and harp awake’ (Nr. 55-56. Recitative and aria Israelitish Woman)
   
3. Händel: Judas Maccabeus ‘O lovely peace, with plenty crown'd’ (Nr. 66. Duet Israelitish Woman & Man)

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1971

From theEtcetera liner notes: Léon Orthel’s generation – including Flothuis, Van Hemel, Van Delden, Landré and Henkemans – is almost a lost generation: between 1940 and 1970 they were well-known and frequently performed, now they are almost forgotten. At the same time, this period was a golden age for Dutch composers. During the war, at least 20% of music to be played by orchestras was Dutch. This interest in Dutch music continued after the war, when every symphony orchestra had a Dutch conductor and Dutch compositions were performed on international tours. Orthel’s music played a substantial role in Dutch music life and both the Concertgebouw Orchestra and the Residentie Orchestra played Orthel’s Second Symphony on major tours of America.

Léon Orthel’s compositions are mostly expressive and at times romantic. From time to time they have an unexpectedly dark undertone, rather like the works by his American colleague Samuel Barber. Some works are utterly amazing and overwhelming: concise, well-built, yet capricious with unexpected impulses, and with influences of Ravel and Stravinsky. Others reminisce of a blues à la Gershwin, of folk songs, and childhood memories. Orthel’s vocal oeuvre consists entirely of songs, mostly written on texts by Rainer Maria Rilke. Written with great skill, Orthel’s best works deserve being remembered.

At the age of sixteen Léon Orthel (1905-1985) studied composition with Johan Wagenaar. In 1928 he went to Berlin, where he studied with Paul Juon and Curt Sachs. A year later he went back to Johan Wagenaar. A few short works for piano and orchestra and a cello concerto date from the 30s; the composer withdrew nine opus numbers. In those years he was busy renewing his idiom, but he did not feel comfortable with atonality. He discovered his own style in his First Symphony (1936) and especially his Second Symphony (1940). At the same time he developed into an excellent pianist. For thirty years he taught the piano at the Conservatory of The Hague and for more than twenty years he taught composition at the Conservatory of Amsterdam.

Orthel dedicated many songs to Ank reinders, who was his favorite soprano. Details on this topic can be found here {HYPER TO ANK REINDERS BIOPAGE} Details on the other composition of this OOP Etcetera CD KTC 1359 can be found on the Etcetera website

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1973

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1974 

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1975

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1976 

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1977

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1. Der Entfernten
2. Die abgeblühte Linde
3. Der Blumen Schmerz
4. Die Blumensprache
5. Non t’accostar all’urna
   
6. Da quell sembiante appresi
   

1. Liebeslauschen
2. Herbst
   
3. Lied der Anne Lyle
4. An mein Herz
5. Am See
6. Das Marienbild
7. Vom Mitleiden Mariä
   
8. Bei dir allein!

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1980

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1981 

*** (These are part of Three Songs, a selections from Façade as art-songs for soprano and piano, to be sung at full voice rather than spoken rhythmically. These are: 1. Daphne 2. Through Gilded Trellises 3. Old Sir Faulk)