"Syncing 2303"

SimpleXMLElement {#386
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    "created" => "2024-10-29T08:49:47"
    "modification" => "2025-08-12T13:55:11"
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  +"edit.date": "2025-08-12"
  +"edit.time": "13:55:11"
  +"Collection": SimpleXMLElement {#436
    +"collection.name": SimpleXMLElement {#468
      +"value": "Kunst"
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  +"Dating": SimpleXMLElement {#447
    +"dating.date.end": "2022-04-01"
    +"dating.date.start": "2022-04-01"
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  +"Description": SimpleXMLElement {#453
    +"description": SimpleXMLElement {#471
      +"value": array:2 [
        0 => """
          Op 1 april was in de Oude Kerk een programma te horen zoals het nog nooit heeft geklonken: een concert met composities van twee modernistische Russische componisten, Galina Ustvolskaja (1919-2006) en Alexander Raskatov (1953), uitgevoerd door Tomoko Mukaiyama en een ensemble van acht contrabassisten en slagwerk. \n
          \n
          De Russische componiste Galina Ustvolskaja werd in het Westen bekend door het Holland Festival van 1989, in het jaar van de val van het communisme, nu 33 jaar geleden. Het 'Dies Irae' uit 1973 is een van haar krachtigste werken, waarin de muziek de kerkruimte vult met voortdurende hamerslagen. De compositie van Alexander Raskatov staat hiermee in contrast: zij is gebaseerd op de klankrijkdom van Russisch-orthodoxe kerkklokken. 'Alle mogelijke klankcombinaties tussen piano, slagwerk en contrabassen zet ik in om deze mysterieuze instrumenten tot klinken te brengen', aldus Raskatov. Zo kwamen twee oude elementen samen: het 'Dies Irae', dat eeuwenlang klonk als onderdeel van de getijdengebeden, en het geluid van luidende klokken, die in vroegere tijden het verloop van de dag markeerden.
          """
        1 => """
          On 1 April, a programme as it has never sounded before was heard at the Oude Kerk: a concert featuring compositions by two modernist Russian composers, Galina Ustvolskaya (1919-2006) and Alexander Raskatov (1953), performed by Tomoko Mukaiyama and an ensemble of eight double bassists and percussion. \n
          \n
          Russian composer Galina Ustvolskaya became widely known in the West through the 1989 Holland Festival, in the year of the fall of communism, now 33 years ago. 1973's 'Dies Irae' is one of her most powerful works, in which the music fills the church space with continuous hammer blows. Alexander Raskatov's composition contrasts with this: it is based on the richness of sound of Russian Orthodox church bells. 'All possible sound combinations between piano, percussion and double basses I will employ to bring these mysterious instruments to sound,' says Raskatov. Thus, two ancient elements came together: the 'Dies Irae', which sounded for centuries as part of the tidal prayers, and the sound of ringing bells, which in earlier times marked the course of the day.
          """
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    +"material": SimpleXMLElement {#473
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      +"media.reference": "Oude Kerk Silence 35 low res 06 – foto Maarten Nauw.jpg"
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      +"media.reference": "Oude Kerk Silence 35 low res 09 – foto Maarten Nauw.jpg"
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    +"part_of.title": SimpleXMLElement {#475}
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      +"creator": "Ustvolskaja, Galina"
      +"creator.lref": "81624"
      +"creator.role": SimpleXMLElement {#493
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      +"creator": "Raskatov, Alexander"
      +"creator.lref": "81625"
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      +"creator": "Mukaiyama, Tomoko"
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      +"related_object.title": SimpleXMLElement {#503}
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  +"Title": SimpleXMLElement {#466
    +"title": SimpleXMLElement {#477
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        0 => "Silence #35: End and Beginning"
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  +"input.date": "2023-05-25"
  +"input.source": "COLLECT>intern"
  +"input.time": "15:19:28"
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      7 => "位置"
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  +"record_access.owner": "Stagiair"
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