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John Borstlap (born 4 November 1950, in Rotterdam) is a Dutch composer [1] and author[ citation needed ] on cultural subjects related to music and the visual arts. His work is rooted in German musical traditions[ citation needed ] and he is a proponent of a revival of tonal and classical traditions[ citation needed ].
John Borstlap studied from 1968 through 1973 at the conservatory in Rotterdam, [2] composition with Otto Ketting and Theo Loevendie, and piano with Elly Salomé. He took a Masters Degree at the University of Cambridge (England) [3] [ self-published source? ]
After moving to Delft in 1976, Borstlap made a living by private piano teaching and accompanying ballet classes[ citation needed ], while carrying out extensive musical studies[ citation needed ], as well as studies in art history and Jungian psychology [ citation needed ]. The American pianist Christopher Czaja Sager, who had shortly before settled in the Netherlands, discovered some of his piano pieces which he performed many times, including radio recordings. [4] In 1981 Sager premiered Borstlap's Variations for piano and string orchestra (commissioned by the Johan Wagenaar Foundation in The Hague) with the Netherlands Chamber Orchestra under Antoni Ros-Marbà with performances in Amsterdam and The Hague.[ citation needed ]
On the basis of two prizes he had meanwhile won[ citation needed ] with his Violin Concerto (at the Wieniawski Composers Competition[ citation needed ] in Poznan and the Prince Pierre de Monaco Competition[ citation needed ]), Borstlap successfully competed in 1984 for a year postgraduate study at Cambridge University[ citation needed ] on a full British Council Scholarship[ citation needed ], where he obtained his Degree of Master of Philosophy in 1986[ citation needed ]. At the music faculty he studied with Alexander Goehr [ citation needed ]. As Borstlap wrote in his book, The Classical Revolution (2013 / 2017), "understanding the Schönbergian heritage would mean understanding of the origin of musical modernism".
In 1990 the Netherlands Chamber Orchestra under Hartmut Haenchen performed Borstlap's first symphony, Sinfonia.[ citation needed ]
In the nineties Borstlap was involved in various projects, such as an extensive national concert tour of the Ludwig Trio for which he wrote a string trio, [5] and the production of a CD with his chamber music Hyperion’s Dream[ citation needed ]. In 1998 he organized a classical chamber music festival in Haarlem [ citation needed ]. While working on his music, his writings on musical and wider cultural subjects began to be published.[ citation needed ]
The beginning of the new millennium saw various performances of his elaboration of a Wagner sketch, Psyche, in Manchester, the Netherlands and Romania [ citation needed ], and the publication of a long essay: Recreating the Classical Tradition in the tome Reviving the Muse in which Borstlap formulated his latest ideas about the possibilities of a revival of the tonal tradition. [6]
In 2002–2005 Borstlap campaigned, together with two colleagues, for a reform of the national subsidy system for new music[ citation needed ]. A court case in 2012 against the national funding body for new music, which Borstlap won, ended a period of public contestation. [7]
Psyche received a successful performance by the Orchestre National de Montpellier in 2008[ citation needed ]. Since then, interest in Germany and Austria has grown[ citation needed ], resulting among other things in a commission by the Kammersymphonie Berlin for a classical symphony[ citation needed ]. In 2013 his book The Classical Revolution was published by the Scarecrow Press (New York), followed by a second edition[ citation needed ] in 2017 by Dover (New York). [8]
In 2016 his Feierliche Abendmusik (Solemn Night Music) received successful[ citation needed ] performances by the Dallas Symphony and the Hong Kong Philharmonic under conductor Jaap van Zweden (a shared commission by the respective orchestras). [9]
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