MUSIC FROM THE ERA OF REMBRANDT VAN RIJN

If a time machine were to cast us back to the 17th century, to the Dutch Golden Age — the time of Rembrandt — we would be astonished at the efficient means of communication, at the accessibility of countries and of cities, and at the speed at which fashions could spread throughout Europe. A citizen of Amsterdam, the Hague or Utrecht could not only buy coffee, tea, tobacco and spices, the luxury goods from distant lands, but also music from Venice, Florence, Rome and Paris. This was possible thanks to well-organised international trade routes and to devoted travellers who sought inspiration in foreign lands and who on their return spread innovative ideas, tastes and fashions. Even more importantly, the latest ‘foreign’ music was easily available in the Netherlands, thanks to publishers in Antwerp and in Venice, as can be seen from the collection of music assembled by the Amsterdam city musician Antoni Pannenkoek. It could even have been possible that Pannenkoek and Rembrandt associated with each other, for they moved within the same circle of patrons.

The music presented in this boxed set is in itself proof of the means of communication available and the awareness of fashion in the Low Countries during the 17th century. It is a cosmopolitan programme, even though its leading characters are Dutchmen: Jan Pieterszoon Sweelinck, Constantijn Huygens and Jacob van Eyck. In the same way that Rembrandt could be up to date with the latest styles in painting from Italy without having visited the country, Huygens was extremely familiar with French and Italian music, the most important in Europe, through his extensive travels and correspondence. His own music was heavily influenced by foreign styles, for he had a low opinion of Dutch composers in general, with the possible exception of Sweelinck. Like Corneliszoon Hooft, he took inspiration from the latest works of Monteverdi, of Henry du Mont and of Antoine Boësset. He also had contact with Rembrandt and was possibly the first to recognise his genius at an early stage; Huygens was thirty-two years old when he put this down on paper in 1629, amidst the roar of cannon at the siege of Den Bosch.