A Dutch composer beyond the mainstream
Bernard van den Sigtenhorst Meyer (Amsterdam, 1888 – The Hague, 1953) developed a musical voice that is difficult to categorise. His work was neither late Romantic in the manner of Mahler nor modernist in the vein of Stravinsky or Prokofiev. Instead, his piano music reveals a distinctive idiom that blends Romantic lyricism, impressionistic colour, and an affinity for Eastern imagery. For pianists interested in broadening their repertoire, his music offers a fascinating perspective on the currents of early twentieth-century European art.
Romantic roots and national identity
Sigtenhorst Meyer came to music relatively late. After initial piano studies with Jean-Baptiste de Pauw, he received compositional guidance from Daniël de Lange and Bernard Zweers. De Pauw encouraged him to develop his own style rather than imitate avant-garde tendencies. As a result, Sigtenhorst Meyer sought inspiration in Dutch soil: landscapes, castles, rivers, and the legacy of Jan Pieterszoon Sweelinck. His edition and arrangements of Sweelinck’s works testify to his desire to root his music in national tradition.
This grounding in Dutch culture distinguishes him from many contemporaries who looked almost exclusively to Paris, Berlin, or Vienna. Yet Sigtenhorst Meyer was not provincial: his work shows awareness of international trends, especially French Impressionism.
Impressionistic affinities
The strongest parallels with Impressionism appear in his piano works. Like Debussy and Ravel, he often turned to nature and atmosphere as subject matter: clouds, water, animals, mountains. His Preludes, Op. 17, depict eight animals through concise and evocative sketches; his cycle Zes Gezichten op de Fuji (Six Views of Mount Fuji), Op. 9, responds to Japanese woodblock prints of the mountain under shifting conditions of weather and light.
What makes these works “impressionistic” is not harmonic daring—Sigtenhorst Meyer’s chords are generally simpler than Debussy’s—but their focus on colour, texture, and mood. He was capable of painting soundscapes with a few carefully chosen gestures, creating an atmosphere of restraint and clarity.
At the same time, his music avoids some of the luxuriance associated with French Impressionism. Instead of Ravel’s dazzling sonorities, we find transparent textures and a tendency towards serenity. In this sense, Sigtenhorst Meyer occupies a space between Romantic expression and impressionistic suggestion.
Beyond Impressionism: Eastern themes
One of Sigtenhorst Meyer’s defining traits is his fascination with Eastern culture, often encouraged by his partner, the poet and painter Rient van Santen. His cantata De Verzoeking van Boeddha (“The Temptation of Buddha”) reflects Buddhist themes, while his early piano cycle Het Oude China, Op. 2, demonstrates his engagement with Chinese imagery.
This interest in the East aligns him with a wider phenomenon in European art known as japonisme, visible in visual art, architecture, and music. Debussy himself was inspired by Japanese prints, most famously Hokusai’s Great Wave, which adorned the cover of La mer. Sigtenhorst Meyer’s Fuji cycle fits within this context, though expressed in his own restrained idiom.
How his style differs from French models
While parallels with Debussy and Ravel are evident, Sigtenhorst Meyer’s music is not simply derivative. Several features set him apart:
- Harmonic language: clear, balanced, and purposeful, with harmonies chosen for colour rather than effect.
- Form: concise, almost classical in balance, avoiding excess.
- Texture: transparent rather than luxuriant, favouring clarity over density.
- Character: often serene, sometimes austere, in contrast with the sensuality of Ravel.
These differences can be heard positively: Sigtenhorst Meyer offers pianists impressionistic atmosphere without the technical or harmonic complexity of Debussy. His works are accessible yet musically rewarding, making them attractive additions to recital programmes.
Key piano works
Zes Gezichten op de Fuji, Op. 9
Written in 1923, this cycle of six pieces captures Mount Fuji in different guises, echoing the tradition of Japanese woodblock prints. Each miniature conveys a mood rather than a literal description. Pianists who enjoy Debussy’s Estampes will recognise a similar aesthetic but with greater simplicity of means. The title itself recalls Katsushika Hokusai’s celebrated series of woodblock prints, Thirty-Six Views of Mount Fuji, a cultural reference that deepens the work’s resonance and situates it within a broader artistic dialogue between East and West.
Preludes, Op. 17
This set of eight animal portraits exemplifies his gift for characterisation. From the flutter of wings to the quiet presence of grazing creatures, the preludes combine clarity with imagination. Listeners have even mistaken them for pieces by Erik Satie, underscoring their whimsical but refined quality.
Other cycles and sonatas
His output also includes piano sonatas, character pieces, and works inspired by Dutch landscapes. These compositions underline his dual orientation: rooted in national culture, yet in dialogue with international styles.
Reception and rediscovery
During his lifetime, Sigtenhorst Meyer’s works were performed only occasionally. After his death, they fell into neglect. A revival began in the 1980s when pianist Marius van Paassen recorded the Preludes, Op. 17, to critical acclaim. Later, Dutch pianists such as Ronald Brautigam and David Kuijken continued to explore his music, while oboist Pauline Oostenrijk brought his chamber music to light.
Internationally, however, his name remains little known. For audiences already acquainted with Debussy, Ravel, or Satie, Sigtenhorst Meyer offers an opportunity to hear a related but distinct voice—one that enriches our understanding of impressionism’s wider legacy.
Why explore Sigtenhorst Meyer today?
- For pianists: his works provide atmospheric repertoire that contrasts well with canonical pieces in recital programmes.
- For students: they offer technical challenges that are manageable yet musically rewarding.
- For audiences: they open a window onto Dutch cultural history, showing how local composers engaged with international trends.
- For scholars: they illuminate a neglected chapter of European impressionism, linking Dutch music to broader artistic movements.
Editions and performance materials
Until recently, access to his scores was limited. Performers relied on outdated prints or facsimiles, often difficult to read. Modern Urtext editions now make his piano works available in reliable form, based on first editions and carefully engraved for clarity. The new edition of Zes Gezichten op de Fuji published by Felix Editions marks the start of a new series dedicated to his music.
Conclusion
Bernard van den Sigtenhorst Meyer cannot be labelled an impressionist in the strict sense. Yet his music shares enough affinities with Debussy and Ravel to appeal to anyone drawn to the sound world of French Impressionism. His cycles such as Zes Gezichten op de Fuji and the Preludes offer pianists evocative, atmospheric pieces that bridge Romanticism and Impressionism with a distinctive Dutch perspective.
Exploring his piano music is not only a step towards rediscovering forgotten repertoire, but also a way to appreciate the diversity of impressionist traditions across Europe.