Marius Flothuis was not only a composer: he was also a musicologist, programme organiser and music critic. In all his activities he left a significant mark on the musical life of the Netherlands. Music was Flothuis’ abiding passion. He studied piano with Arend Koole and Hans Brandt Buys and music theory with the latter. After leaving school he read classics at Amsterdam University and music at Utrecht. In 1937 he became assistant programme organiser for the Concertgebouw orchestra, where he met many musicians and composers.
During the Second World War it became compulsory in the Netherlands for anyone who was active in the arts or a cultural sphere to be registered at the Chamber of Arts. Membership automatically entailed a declaration of loyalty to the occupying forces. Flothuis was supposed to apply for such membership as he was in a “mixed marriage”; his wife had a Jewish father. He refused to do so and in 1942 this cost him his job. Thereafter he led a semi-illegal existence; he sheltered Jews going into hiding and organised concerts whose proceeds went to supporting the resistance. In September 1943 he was betrayed: following his arrest he spent several months in prison in Vught and from there he was sent to the Oranienburg concentration camp, where he remained until May 1945. Here he gave piano recitals and composed, as a counterbalance to the horrors surrounding him. In 2002 he was posthumously awarded the Yad Vashem prize.
As a composer Flothuis was largely self-taught. His first public concert was in 1939 with the performance of his Vier Morgenstern liederen (Four Morgenstern songs) by the Concertgebouw orchestra conducted by Eduard van Beinum. In common with his contemporaries Hans Henkemans, Leon Orthel and Lex van Delden, Flothuis wrote in the neoclassical idiom that prevailed in the Netherlands between 1940 and 1970. He strove for clarity and balance both in structure and instrumentation. In the last twenty years of his life his musical style became more associative and intuitive. Marius Flothuis wrote some hundred works in nearly every genre, excluding opera. Chamber music and lieder are the most frequent in his compositions.
Throughout his life Flothuis was an admirer of Mozart; he wrote his thesis (1969) and other several articles on Mozart. Flothuis was a prominent figure in the Dutch Mozart Association and at the Central Institute for Mozart Research in Salzburg. Amongst Flothuis’ other favourites were Monteverdi, Schubert, Debussy and Boulez.
After the war Flothuis worked as a documentalist at the newly established Donemus (the Dutch institute for the documentation of contemporary music) and he was music critic for the paper
In the years 1974-1982 Flothuis taught music in Utrecht, specialising in the period 1750-1920. He collaborated in editing the collected works of Mozart, Gluck and Debussy. After he retired Flothuis devoted himself to writing books and composing. He has since come to be regarded as the éminence grise of the music world in the Netherlands. A man of many distinctions, he died on 13 November 2001.
Four Morgenstern Songs, opus 3 1937-1938 for soprano and piano
Four songs, opus 3 orchestrated in 1939 for soprano and orchestra
Sonata da camera, opus 17 1943 for flute and piano
Pour le tombeau d'Orphée, opus 37 1950 harp solo
Kwartet, opus 44 1952 for string quartet
Hymnus, opus 67 1965 for soprano and orchestra
Sonate, opus 85 1985 for oboe, horn and harpsichord
Find out more about Marius Flothuis, find sheet music and listen to sound samples on www.forbiddenmusicregained.org
This cd includes Aubade for flute solo, written in 1944, as well as the Sonata da Camera written in 1943, both in Camp Vught. Available from FutureClassics.
The sheet music of Marius Flothuis is available from Donemus