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For piccolo, flute, oboe, englisch horn, clarinet, bass clarinet, bassoon, contrabassoon and 4 horns. Duration 09'. Completed: 22/01/1977 (Revision: October 1980).
First performance: Kerkrade, 12/06/1980, Maasland Ensemble conducted by Jean Lambrechts.
Available from the author.
The title is based on the analogy of the instruments that allow a division into five groups: 1: piccolo/flute, 2: oboe/english horn, 3: clarinet/bass clarinet, 4: bassoon/contra bassoon, 5: four horns.
It was one of the works I presented for the achievement of the Prize for Composition in 1980.
For string quartet. Duration 14'. Completed: March 1977 (Revision: 1980).
It was one of the works I presented for the achievement of the Prize for Composition in 1980.
The quartet is in one piece but is composed in two large parts that are provided with prelude/interlude/afterlude. Striking to the parts is the strict agreement in numbers of measures. In part one, however, these are divided alternately. These simularities give the work a balanced character.
The first part consists of a regular alternation of two movements Nicht zu bewegt/Etwas bewegter that are placed three times in succession. After an interlude follows a dance-like part two that is repeated in structure and building after an intermediate part.
In overview:
| Prelude | Number of measures | Time signature |
|---|---|---|
| Frei (ad libitum, quarter=50/60) | 5 6 6 | 2/4 |
| I | ||
| Nicht zu bewegt (eighth note=100) | 5 7 (3+4) | 12/8 |
| Etwas bewegter (quarter=100) | 16 (4 3 4 3 2) | 4/4 |
| Nicht zu bewegt (eighth note=100) | 5 7 | 12/8 |
| Etwas bewegter (quarter=100) | 16 (6 6 4) | 4/4 |
| (Interlude) | 3 3 4 | varying in time signature |
| Afterlude: Sehr frei (ad libitum quarter=50/60) | ||
| II | ||
| Tänzerisch bewegt | 10 | 3/4 |
| 12 5 5 | 3/4 | |
| 10 | 3/4 | |
| 12 5 5 | 3/4 | |
| (im Ausdruck ruhig) | 12 (imitating) | 5/8 |
| +2 | ||
| unruhig | 12 (imitating) | 5/8 |
| Afterlude | ||
| Wieder Tänzerisch | 10 | 3/4 |
| 12 5 5 | 3/4 | |
| 10 | 3/4 | |
| 12 5 5 | 3/4 | |
| Frei (ad libitum quarter=50/60) | 6 6 5 | 2/4 (a free retrograde movement based on the prelude) |
Duration 05'. Completed: 14/05/1977.
movements: 12 variations and coda.
Dedicated to Jan and Teddy Habets.
First performance: Heerlen, 26/11/1977, Peter Soeters and John Slangen.
Available from the author.
As the title suggests, this is a theme with variations.
The theme takes eleven measurers, while the variations don't all take eleven-measures, they also change their tempo, which means that their duration can vary considerably from that of the theme.
| I | Thema | Fliessend (quarter=96) |
| II | Variation | Kräftig, +doppio movimento (quarter=192) |
| III | Variation | Fliessend (quarter =96) |
| IV | Variation | Energisch |
| V | Variation | Leicht |
| VI | Variation | Ruhig |
| VII | Variation | (alternately in tempo and not in tempo) |
| VIII | Variation | (eighth note =192) |
| IX | Variation | Wild |
| X | Variation | (quarter=96) solistisch Frei |
| XI | Variation | A Tempo |
| XII | Variation | L'isteso tempo |
| coda | (quarter=96) subito |
There is a big difference in difficulty between the primo and the secundo part. The primo is technically much simpler. In my optimism I had assumed that the primo part could be played by T. Habets, then one of my piano students (and my patron).
Duration 08'. Completed: July 1978.
*Choral: Wir Christenleut'
First performance: NN, 02/04/1982, Heerlens Slagwerk Ensemble conducted by P. Vesana.
Available from the author.
On a performance night in the conservatoire I heard the work Anaglyphos by Willem Kersters. At the time, Kersters was composition teacher in Maastricht (and present at the concert). This work and the conversation with Kersters encouraged me to write myself a piece for percussion ensemble.
It is a - hardly surprising - composition in which rhythm and rhythmic developments determine the structure. An exception is part III (the middle part), in which vibraphone, marimba and chime perform a melodic movement.
For violin and piano. Duration 10'. Completed: August 1978.
Three connected parts:
First performance: Maastricht, 14/12/1978, Margret Schindewolf-Hummel (vl), Peter Soeters (pf).
Available from the author.
Recording: L1 (ROZ), © 1980 L1.
The work was written in the month of August 1978. It was one of the works I presented for the achievement of the Prize for Composition in 1980.
The first movement consists of five parts a-b-c-d-e. The a part is in six measures with a given in the violin and the piano, after three measures in the same rhythm, these six measures are repeated with the melody of the violin in the piano and the secondary piano layer divided over piano and violin. The following parts all develop on this.
The second movement is in two-parts. The a is particularly a part for piano solo. When the violin enters it has a very subordinate layer. The b part starts with a violin solo, the piano enters with an accompanying figure which develops to a more independent layer.
The third movement is a structure (sonata) in which first two main ideas are presented: fast groups in three that belong to the first main idea are characteristic as slower groups in three in the second main idea. Following is a section that develops material hereof. After that, the first part is repeated, but first the second main idea and then the first one is played.
Duration: 18'. Completed: 08/12/1978.
Text: after R.M. Rilke.
Orchestration: 2 Soloists (soprano, tenor), choir (SATB), orchestra: 2 flutes, 2 oboes (English horn), 2 clarinets (bass clarinet), 2 bassoons (contrabassoon), 4 horns, 2 trumpets, 2 trombones, bass tuba, 3 percussionists (bongos, 3 small drums, big drum, woodblock, triangle, tubular bells, chime, vibraphone, marimba), 4 saxophones (SATBar), strings.
Available from the author.
The composition was written in October/November 1978. It was one of the works I presented for the achievement of the Prize for Composition in 1980.
Alceste was taken from the Neue Gedichte (1906/07). I have selected parts of text for the Cantata. This opus 7 is my first work on poems by Rainer Maria Rilke, later I wrote the song cycles opus 12, opus 19 and 21.
Synopsis: Death enters at the wedding supper of Alceste and Admet, he comes for Admet (Admet muß sterben.Wann? In dieser Stunde.)
Admet tries to escape death by negotiating with him (Um Jahre, um einzig Jahr noch Jugend, um Monate, um Wochen, ein Paar Tage, oh, Tage nicht, um Nächte, nur um Eine, um Eine Nacht, um diese nur: um die.) Death refuses. Then Admet tries to offer Death instead of himself his father and/or his mother and then - not to substitute his parents as being deceitful enough (... sie sind verbraucht und schlecht und beinah wertlos) his young friend Kreon (du aber, du, in deine ganze Schönheit).
Then his young wife addresses Death (Ersatz kann keiner für ihn sein, Ich bins, Ich bin Ersatz, Denn keiner ist zu Ende wie ich es bin. ... ich sterbe ja für ihn). Death accepts her and gives Admet life (dem er... die hundert Leben dieser Erde zuwarf).
Before she defenitly goes to another world with death, she turns around (mit Einem Lächeln, hell wie a Hoffnung, die beinah ein Versprechen war). Admet, kneeling desperately, puts his hands in front of his face (um nichts zu sehen mehr nach diesem Lächeln).
Duration: 20'. Completed: April 1979.
Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, bass tuba, 7 percussionists (woodblock, triangle, cymbals, tam-tam, sleigh-bells, bongos, congas, 3 small drums, big drums) , tubular bells, chime, vibraphone, xylomarimba, marimba), timpani, piano, harp, strings.
First performance: Maastricht, 07/05/1980, Limburgs Symphonie Orkest conducted by Ed Spanjaard.
Available from the author.
Recording: L1 (ROZ) © 1980 L1.
The four pieces for orchestra were written in the first four months of the year 1979. It was one of the works I presented for the achievement of the Prize for Composition in 1980.
The first movement is introductory; it consists of only three tones: d-es-as. This interval constellation is regulating the coherence of the whole work.
The second movement is a scherzo with a trio after which the scherzo (shortened) is repeated. The scherzo stands - unusually - in a five-part measure and consists of two parts. The 'trio' in three-fourths is also two-part. The varied repetition of the scherzo is followed by a - proportionately long - enforcement of the closure that is strongly rhythmic.
Part II adapted for piano by Peter Soeters (1982?).
The third movement is a mini-concerto for piano and orchestra (the piano enters here for the first time). After an introductory cadence by the piano, a theme starts with variations. The theme is in the orchestra (without piano) and consists of two parts (a and b). The first six variations are based on the a part of the theme: the piano is predominantly omnipresent. Then b is played solo in the piano and the work closes with a short coda.
The last movement is four-part: A B A 'C. More precisely: A-B (derived from A) -A' (variation/development of A) -C (derived from A). It has a strong counterpointal design:
Introduction (1-21).
Theme: (21-49): the theme is distributed over different instruments, partly due to the large size, but mainly to give each motif of the theme its own color (instrument). This principle is maintained throughout the work. The theme actually runs from 21-26 is then interrupted by a solo for violoncello and continues from 45 to 49.
Divertimento (Episode) I (50-90).
The theme (91-115) in the contrary-wise movement (melodically rising becomes falling and vice versa). The theme actually runs from 91-97 is then interrupted by a solo for flute and continues from 110 to 115.
Divertimento II (115-146)
Canon I (147-156) The two-part canon of the theme in the original movement (motus rectus) may be difficult to follow because of the distributions by motif on the instruments.
Closing of A (164-206).
Here the piano enters and remains part of the orchestra! This is followed by an augmentation (doubling the note values) of the theme in motus rectus. At the place where the interruptions came earlier is now a fermata.
The following section (166-184) is characterized by the development of one of the motifs with soloes successively in the oboe, tenor saxophone, violin and trombone. A short transition leads to a long fermate with which this part closes.
The theme sounds uninterrupted in motus rectus.
Divertimento III: this episode consists of a solo for the trombone and after a conjunctive part (230-270) a solo for violin.
The theme sounds in the contrary-wise movement (motis contrarius).
Divertimento IV.
Canon II (312-321) Now the theme is a two-part canon but with both themes in the contrary-wise movement.
A short conclusion: (321-325).
An introduction to the most complex part of the work (326-356).
Canon III: this is a double canon; there is a two-part canon with the theme in equal movement (motus rectus) and at the same time a two-part canon in the contrary-wise movement (motus contrarius).
Closure (367-371).
For four-part mixed choir a capella. Duration 06'. Completed: April 1979.
Publisher: DONEMUS.
The work was written in April 1979. During the Gregorian classes at the academy of music, I became fascinated not only in music but also in the texts. Especially those of the offertory (one of the varying chants per day) attracted me.
The first movement is written as a motet, that is to say that each part of the text is assigned a separate, often imitating sometimes homophone, text treatment.
The second movement is written as a double-choir (the choir splits into two parts). The movements of chorus 1 are imitated in unison in chorus two (but intervals rising become falling and vice versa). This starts with a two-part beginning in Illumina oculos meos (results in four-part setting).
These roles are also reversed. Choir 2 starts three-voiced and is imitated by choir 1: ne unquam obdormiam in morte: (results in six-voiced setting). Next is an entry by choir 1 in four parts and is imitated by choir 2 in: Ne quando dicat inimicus meus (resulting in eight-voiced). The last part of the text is (four-part) homophone: Ne quando dicat inimicus meus.
The last movement is built on a constant phrase with the text Domine which is also sung backwards (in which case the text becomes eminoD). Multi-voiced and more homophonic parts alternate with each other.
| Offertoria | |
|---|---|
| Psalm Sunday | |
| Improperium exspectavit cor meum: | Scorn expects my heart: |
| et miseriam: | and misery: |
| et sustinui qui simul contristaretur, | I wait for who is sad with me |
| et non fuit | and nobody is there |
| Improperium exspectavit cor meum: | Scorn expects my heart: |
| et miseriam: | and misery: |
| consolantem me quaesivi, | a comforter searched |
| et non inveni. | and no one has come. |
| Et dederunt in escam meam fel | And they give me gal to eat |
| et in siti mea potaverunt me aceto. | and I quench my thirst with vinegar. |
| Fourth Sunday after Pentecost | |
| Illumina oculos meos, | Illuminate my eyes, |
| ne unquam obdormiam in morte: | that I never fall asleep in death: |
| Ne quando dicat inimicus meus. | So that my enemy can never say: |
| Praevalui adversus eum. | I overpowered him. |
| Sexagesima-zondag | |
| Perfice gressus meos in semitis tuis: | Confirm my steps on your paths: |
| Ut non moveantur vestigia mea: | so that my footsteps do not falter: |
| Inclina aurem tuam | Bend your ear towards me |
| et exaudi verba mea: | and listen to my words: |
| Mirifica misericordias tuas: | Make your mercy wonderful |
| qui salvos facis sperantes in te, Domine. | that brings salvation to those who believe in him, O Lord |
It was one of the works I presented for the achievement of the Prize for Composition in 1980.
Duration 08'. Completed: Fall 1979.
*Choral: So gehst du nun, mein Jesu hin
First performance: Peter Soeters (pf), Maastricht, 25/03/1980.
Available from the author.
This opus is my first work performend in public. The first movement is a choral setting in the sense of an instrumental work in which the chorale melody is quoted.
A chaconne is originally a slow dance with a layer (usually the bass) that is constantly repeated invariably. This is combined with many forms of opposing voices. This creates a series of variations over a constant given. Here the constant given sounds nine times.
The third movement is a short work based on the combined movements of two and three notes.
It was written August/November 1979 and it was one of the works I handed over for the Prize for Composition in 1980.
Duration 04'. Completed: September 1979.
First performance: NN, 23/01/1981, Cecilia van Hoof (vlc), Peter Soeters (pf).
Dedicated to Wilma P.
Available from the author.
Recording: L1 (ROZ) © 1981 L1.
These pieces were written for my wife, who studied cello at the time.
Movement I is a free development on a short given in the violoncello.
Movement II is an A B A (very shortened).
Movement III is imitating.
Duration: 07'. Completed: May 1980, revision: October 1983.
*Choral: Es steh’n vor Gottes Throhne
First performance: Maastricht, 27/10/1996, Roger Debougnoux (clar.), Roger Niessen (clar.) and Jolanda Wolters (bassoon).
Available from the author.
Recording: private recording © 1980 JSL.
The composition was written in May/June 1980.
Movement I consists of three times the repetition of the choral. The first time as a choral with two opposing voices and between the choral phrases short interludes. Then the choral is varied, such that the character of each of the two variations is different.
Movement II is built on the possibilities of dividing the beat in fives and multiples of five. This structure is such that the second half is the movement backwards of the first.
Movement III is three-part (an A B C). C first appears to be a repetition of A, but after 13 measures this repetition is aborted and a free closure follows.
Poems: R.M. Rilke, For voice and piano. Duration: 08'. Composed 1979/80.
First performance: NN, 16/04/1980, Ingrid Schmithüsen (sopr) and Ed Gerits (pf).
Available from the author.
Recording: L1 (ROZ) © 1980 (?) L1.
The poems are all from the Stundenbuch (1899/1903) by RM Rilke. 'Betrachte Sie' from Stundenbuch III, 'Wir dürfen dich' from Stundenbuch II nr. 7, 'Ihr Mund' from Stundenbuch III nr. 24, and Lösch mir die Augen aus' from Stundenbuch I. (© Insel verlag)
They were composed in June 1980, January 1979, August 1978 and September 1979.
On poems by Rainer Maria Rilke I wrote 'Alceste' opus 7 and later the song cycles opus 19 and 21.
For 4 soprano, 4 alto, 4 tenor and 4 bass recorders. Duration: 07'. Completed: 31/08 1980.
At the request of Fiet Nafzger and Anette Habets.
Available from the author.
The work was written on 23 June and 29/31 August 1980.
In May 1980, two teachers at the Academy of Music had asked me to write for recorder ensemble. As a result, this work originated, otherwise I would not have thought of writing this work. I came to the conclusion that while working on a piece, without a imagination for which instruments it was intended, I noticed that I had not used 'bass' as a register. Since the recorder bass has a 'f' as the lowest note, and thus basically no bass, the memory of the request came to me.
The work consists of two movements.
The first movement is in three parts, which is also audible in the use of the instruments. Part A is in turn also in three parts: a is played by sopranos and alts, b by tenors and basses and c by alts and tenors. This structure is supported by a canon technique. Part B is in two parts, easy to hear from the strong ritardando halfway. Here, too, the choice of instruments has a corresponding task to the structure, both in sound and in idea. Part C is a varied repetition of A.
The second movement is based on a basic idea of five notes in equal duration (short in the beginning). The first part (A) develops this five-note figure in the value of eighths. In B the figure appears in quarter length. In C, quarter and eight lengths are combined. After a short section (D) with only quarter lengths the eighth lengths return to a different measure (E). A short coda (in long notes and based on the five-tone figure) closes the work.
Duration: 05'. Completed: December 1980.
Dedicated to Ed Gerits.
First performance: Maastricht, 15/12/1982, Tonie Ehlen.
Available from the author.
Both movements were written in December 1980.
For 12 first violins, 10 second violins, 8 violas, 8 violoncelli and 6 double basses. Duration: 15'. Completed: August 1981.
* En er was ereis een vrouw
Commissioned by the Dutch Gouvernement.
Publisher: DONEMUS.
The movements were written in September (I) and December (II) 1980 and in January (III) and February (IV and V) 1981.
Movement I is a fugue in the old sense of the word: namely meant as a canon. Here the theme in itself is polyphonic. This polyphony is repeated in the contrary-wise movement (ascending and descending), backwards (retrograde) and in the combination from retrograde and rectus combined with contrary-wise movement.
Schematic:
| register 1 | B (is A backwards) |
| register 2 | A subject 1-36 |
| register 3 | C (is A in the contrary-wise movement) |
| register 4 | D (is A backwards and in contrary-wise movement) |
Movement II is a theme with eleven variations (twelve parts together).
Movement III is based on a children's song. The children's song "and once there was a woman" is one of the first children's songs I can remember singing as a toddler. I still know the text and melody up to now.
| En er was ereis een vrouw | And once there was a woman |
| die koeken bakken wou, | who wanted to bake cookies, |
| en dat meel dat wou niet rijzen. | and that flour that did not want to rise. |
| En de pan viel om, | And the pan fell over, |
| en de koeken waren krom | and the cakes were crooked |
| en die man heet Jan van Gijzen. | and that man is called Jan van Gijzen. |
Here the song has been put in such an augmentation that it spans this entire third part.
Movement IV is a fast tempo, in three parts and changes into V (the Coda).
Duration: 08'. Completed: March 1981.
* variations on Het daghet in den oosten
First performance: Maastricht, 11/04/1981, Jos Kamp (vlc).
Available from the author.
Recording: L1 (ROZ) © 1981 L1.
The two pieces were written in February/March 1981.
The first movement actually consists of two parts: a slow introduction (Breit) and a fast part (Lebhaft). This Lebhaft is set up in canon technique until halfway through the work. There follows –in retardation- the retrograde (movement backwards) of the whole and thus also of the canon. The imitated (which was the comes in the first half) becomes that what is now being imitated (namely dux). Factually it becomes a canon in the retrogade.
The second movement consists of variations about an old Dutch folksong. The folksong itself is alienated from its melodic order by octave displacements. There are eight variations, or rather developments: a part from the song is developped independently.
Poems: Clare Ebden, For voice and piano. Duration: 04'.
Written at the request of Ed Gerits.
Available from the author.
These short songs were written in May 1981.
Duration: 27'. Completed: June/July 1981.
Written in the context of a dance project that ultimately did not take place.
First performance: Heerlen, 30/08/1981, Paulien Ten Koppel (clar.) and Arno Dieteren (pf.).
Available from the author.
Recording: private recording © 1981 Paulien Ten Koppel and Arno Dieteren.
The work was written in the months of May/June 1981.
The first movement (12 ') is written in a sonata structure (with three themes). The first part is in four blocks of two minutes, four minutes, two minutes and four minutes, a regular distribution. The first two minutes and the next two are a pre-exhibition; the three main ideas (es-es-e) occur, however, without reference tone opposition between the first two. Then follows the exhibition (4 ') with the three main ideas (now with reference tone opposition between the first two es-bes-bes) a development (2') on and a re-exhibition (4 ') with the repetition of the three (es-es-e) main ideas (without reference tone contrast between the first two). This part closes with long cadences for piano solo.
The second movement (6 ') consists of three blocks of two minutes each. The beginning of the first part starts introductively (1-14) as if the work only starts (after a delay) in measure 15 (a tempo). In measure 61 the middle part begins which is characterized by the many repeating figures. This part passes almost unnoticed into a slightly varied repetition of the beginning, albeit that it starts at the 'measure 15' (in the ‘a tempo’ after the preceding delay).
The third (9.5 ') part is a: A B C- (cadence) B A. The first part (A) is a development about a given by which the clarinet solo enters. In measure 122 starts B, the previous 6/8 measure changes to a 2/4 and in 211 returns to the 6/8: the middle part C starts. This part ends in a longer clarinet solo. After this, the 2/4 with B resumes the movement and is followed by a repetition of A. The work ends with a cadence for both instruments and with a short confirmation of the conclosure.
Poems: R.M. Rilke, For voice and piano. Duration: 04'. Composed August 1981.
Available from the author.
These three short songs were written in May (I) and August (II and III) 1981.
Duineser Elegien is the title of a collection with ten elegies (lamentations, meditative poems) that R.M. Rilke wrote between 1912 and 1922.
On Poems by Rainer Maria Rilke I wrote 'Alceste' opus 7 the song cycles opus 12 and (later) opus 21.
For 2 trumpets, horn, trombone and bass tuba. Duration: 09'. October 1985.
First performance: Maastricht, 25/04/1984, students of the Maastricht Academy of Music.
Available from the author.
The work was written in September (I, II) and October (III, IV and V) 1981.
Movement I (Langsam) is clearly in two parts and has an introductory character.
Movement II (lebhaft) is a canon with a theme divided over two instruments (because of its size). The theme sounds first in the trumpet2 and horn and is imitated in the tuba/trombone, rhythmically in the double note value. During the continuation of this enlargement there is a second imitation; the theme in the contrary-wise movement (rising intervals are going downwards and vice versa) is in trumpet2 and horn. This is re-imitated in the enlargement in tuba and trombone. When this imitation is completed the work closes. Trumpet 1, trumpet 2 and horn play free voices if they do not have the theme.
Movement III (with the quarter as MM 80) combines two different characters: a recitative with a quiet rural waltz (Ländler). The order is Rezitativ-Ländler I-Ländler II-Rezitativ II.
Movement IV ((Sehr belebt) is a short, very free Fugue (composition with many repetitions of a theme) The theme is in motifs divided over the instruments, the same goes for the contrary voices, after the theme has sounded three times (exposition) follows an interlude of four measures. After one entrance of the theme (re-exposition 1) there is a interlude (divertimento) of one measure. It is followed by a part (expostion) with three entrances of a second theme, followed by a long developing interlude. Next there is a sequence of three entrances of a third theme and once the first theme After one measure interlude there is two times the theme 2 and then a combination of the three themes.
The movement V (Lebhaft) is short and fast and a variant of part I. It functions as a lively afterglow.
Poems: R.M. Rilke. Duration: 11'. Completed: January 1982.
* Choral: Die Nacht ist kommen
Composed for the Internationalen Studienwoche Zinzig 1982.
First performance: Zinzig, 11/08/1982, Ingrid Schmithüsen (sopr.) and Bertold Wicke (organ).
Available from the author.
Recording: WDR III © 1982 WDR.
The Poems were taken from the Stundenbuch (1899/1903): das Buch vom Mönchischem Leben nr XXX and XXXVI by R.M. Rilke. (© Insel Verlag)
The work was written in late December 1981 and early January 1982. It consists of a succession of different characters that each find their expression in distinct styles. The whole therefore works as a fantasy. The character differences originate in the text.
The Toccata is a prelude. With the Recitativ und Arioso the textual representation starts from the first poem and continues during the 'kleines Prélude', to the Variation I (about the toccata). The Variation II is a prelude for the second poem. This second poem begins in the Toccata double and continues in the Intermezzo, Choral, Variation III (about the toccata with the chorale that can, but should not be sung by a choir), to the Schluss.
On Poems by Rainer Maria Rilke I wrote 'Alceste' opus 7 the song cycles opus 12 and opus 19.
Duration: 05'. Completed: February 1982
Dedicated: for the pleasure of Petra Maria A..
Available from the author.
The work was written in three days on 09 (I), 08 (II) and 07/08 (III) February 1982.
Above the first movement is written 'Tänzerisch'=dance-like), but this is more a characteristic feature than that there is a dance here. An unambiguous dance is prevented by the combination of a four and three-quarter measure that both are performed in that character. After 16 measures (four-quarter measure) (a) there is a - two-measures- abrupt tempo change: much slower (b). Then in the first tempo a variation/development of a and then again follows b. Then follows shortened a and with b the part closes.
The slow movement II has a mirror structure: in measure 12 the music is performed backwards and thus naturally leads to a closing when again measure 1 is reached.
Movement III is short and in two parts, with the second part being a development of the first.
One movement. Duration: 10'. Completed: spring 1982.
Commisioned by the Fonds van de Scheppende Toonkunst.
First performance: Maastricht (OLV Basiliek), 29/06/192, Tjeu Zijen.
Publisher: DONEMUS.
Recording: L1 (ROZ) © 1982 L1.
The work, seven parts (partites) to a chorale setting writen by myself, was composed in the months of February/March 1982.
After the choral, there are five variations that are concluded by a final. The variations (partites 2 through 5) follow a classical principle, namely that of a written acceleration by using ever smaller notevalues. Partite six is an adagio in variable structure: that is to say that the structure as a whole is fixed but that during the realization of that structure possibilities for improvisation are given. Final (partite seven) literally means here; a closing part that is confirmed by a very short (seven-measure) coda.
Chamber opera. Duration: 60'. Composed: 06/07/1982.
Text: Hugo von Hofmannsthal, libretto: John Slangen/ Christoph Amrhein.
Written on request of Maria en Christoph Amrhein for Johannes Geffert and the Kantorei der St Kreuz Kirche in Bonn.
First performance: 19 IX 1985, Heerlen.
Direction: Christoph Amrhein.
Soloists: Ingrid Schmithüsen (Mädchen), Gemma Visser (Mutter), Math Dirks (Freund), Peter Kokkelmans (Tod), recitation: Christoph Amrhein (Claudio)
Preparation Choir: Peter Kokkelmans
Members of the Limburgs Symphonie Orkest, the Ensemble Contraint and the Limburgs Vocaal Ensemble conducted by Arno Dieteren.
Piano-score (opus 24b)
Available from the author.
Recording: L1 (Radio Omroep Limburg) © 1985 L1.
Claudio has mainly used his life to enjoy in a pleasant superficial way. He has become old, he discovers that he has missed depth in his life and experiences it as a shortcoming. When Death stands before him, he asks for postponement 'Ich habe nicht gelebt('I did not live). Death, however, is inexorable and shows him the great chances he has had: his mother neglected by him, the selfish attitude to and disregard of the love of the girl, and the exploitative and contemptuous attitude towards his friend. Faced with this lies Claudio: ‘ Da Tod mein leben war, sei du mein leben. Tod ' (While death was my life, now my life will be death).
Frequently processed is the German folk song: 'Es kommt ein Schnitter, der heisst Tod' (There is a mower that is called death). It works as a 'Leitmotiv-like' binder through all the movements of the opera.
Poems: Nicolaus Lenau. For voice and piano. Duration: 05'. Completed: November 1982.
First performance: Maastricht, 24/02/1984, Peter Kokkelmans (tenor) and Tonie Ehlen (pf).
Available from the author.
The songs were written in November 1982 immediately following the performances of my opera 'Der Tor und der Tod'.
For a long time I had been reading the collected work and also the poems of Lenau (1802-1850) and was struck by the sombre tone and imagery of poetry. As if out of nowhere, as if it were a kind of discharge, these songs arose in a short time.
I gave the title to this work, in each of the Poems the darkness of the night is addressed: 'Unergründlich süße Nacht', 'In Schlummer ist der dunkle Wald gesunken', 'Schlaflose Nacht' and in the title 'Winternacht'.
Bitte
Weil' auf mir, du dunkles Auge,Stimme des Windes
In Schlummer ist der dunkle Wald gesunken,Mein Herz
Schlaflose Nacht, der Regen rauscht,Winternacht
Vor Kälte ist die Luft erstarrt,Duration: 14'. Completed: 1983.
* on the occassion of the birth of Catherine Delnooz
** on the occasion of the birth of Birgit Wetzels
First performance: Maastricht (?), 05/01/1985.
Available from the author.
CD: 5 eeuwen Maastrichtse Muziek © 2001 Conservatorium Maastricht.
This work has a longer history. The pieces were written as separate compositions and one day bundled in this order.
The pieces were written in: 1/2 (1981 during a holiday in Esztergom, Hungary), 3/4/5 (1983), 6 (1982) 7/8/9 (1983) and 10 (1979).
Wolfgang Güdden adapted these pieces for small ensemble.
For trombone and piano. Duration: 04'. Composed/completed: July 1983.
Composed on request of Harrie Ries and Ed Gerits.
Dedication: to Bertje.
First performance: Heerlen, 11/03/1985, Harrie Ries (trb) and Ed Gerits (pf)
Available from the author.
Praescriptum (regulation: a reference to prescribed actions to perform music on the instrument) was written in the months of July (I), March/May (II) and June (III, IV) of 1983.
The work shows an increasingly strong bond to time (tempo and beat) over the movements distributed.
In movement I the tempo is always an estimate of the player and it constantly changes. The interplay is also strongly determined by the estimate (variable structure), making - rightly - a strongly improvisational impression.
In movement II, both players have both free and beat-bounded passages, mutual combined or not. Basically there are four possibilities: both free, one free and the other bound, the other bound and one free, both bound.
Movement III is a canon; the imitation is based on the number of notes that make up the different motifs. The canon is repeated with the voices interchanging places: what trombone was becomes piano and vice versa. Naturally, adjustments to the setting are necessary here.
Movement IV is a short fugue in which the fugue theme is rhythmic and undergoes character changes in the development for it is placed in a different metric scheme.
For flute and piano. Duration: 12'. Completed: May 1984.
First performance: Maastricht, 22/04/1986, Heleen de Witte (fl) and Tonie Ehlen (pf).
Available from the author.
At that time I was rather pessimistic about the position of contemporary music in society and my own place within it. The title –bringing evil-is a reflection of this. What misfortune would I suffer from this composition?
The work was written in May (I) and April (II and III) 1984. The first part is a contemporary adaptation of the song 'Frühlingsglaube' (Uhland) by K.F. Curschmann (1805-1841), a highly respected song composer at the time.
The second part is a canon, but the elements of the cannon are not height and/or duration but the succession of legato (bound notes) and staccato (separately played notes). The articulation theme first sounds in the flute, then in the piano. Then in the flute with the piano as a secondary layer, then in the piano with the flute as an additional layer.
A passacaglia is originally a (slow) dance consisting of a constantly repeated voice (usually the bass) and above that all kind of contrary voices. Here too, the continuous repetition (the ostinate) is an articulation. It sounds sequentially in the flute (solo), in the piano (solo), divided into flute and piano, in the piano (flute as a secondary layer), in the flute (piano as a secondary layer), in both the flute and the piano.
For violoncello and piano. Duration: 04'. Completed: 23/09/1984.
On the request of Jos Kamp.
First performance: Heerlen, 20/12/1984, pupils (children!) from the Music School Heerlen.
Available from the author.
Five Variations for violoncello and piano on the national folksong 'Altijd is Kortjakje ziek'.
The theme (variation I) is divided between piano and violoncello. In the second variation the theme in the piano is played parallel in seconds sonortities (divided over octaves), the cello develops material from the melody. The third variation is a development of, in particular, the starting motif in the piano with the cello as free contrary voice. The fourth variation is a contrary-wise movement (intervals in the opposite direction of the original) in equal note valuesin the violoncello, the piano has chords in a rhythm that is wit a beat (must be estimated to be placed within the measure). The fifth variation is a development in which the sequence of the gestures is dependent on the estimate of the two players (variable). A brief conclusion recalls the original beginning of the melody in the cello.
2 violins, viola and violoncello. Duration: 14'. Completed: January 1988.
First performance: Maastricht, 23/10/1985, Elke Seynsche (vl), Patrick Heckmans (vl), Christoph Klein (vla) and Francesco D'Arcangelo (vlc).
Available from the author.
Recording: Stichting Intro © 1985 Stichting Intro.
The work is named after the god of happiness, misery and fate from Greek mythology. From the somewhat pessimistic idea 'what will the composition of this work bring to me'.
On television I saw a broadcast with historical recordings about the early twentieth-century life in the countryside of the Russian Tsar Empire. Two women sang, partly even in two parts, a national anthem that appealed to me directly. I wrote down the music to remember it. Obviously I have no idea what the text means or in which region this recording was made.
The quartet starts with a furious foreplay. Movement I is a sequence of the national folksong with seven variations. The first variation is a reduction of the melodic material of the theme and the second a rhythmic reduction of the theme. The third variation continiues on the idea of the rhythmic reduction: the cello plays the rhythm of the theme in the accents of the continuous notes. The fourth variation follows the phrase structure of the theme in the successive sound fields. The fifth variation brings the theme in the reduced note values (diminution) and in the opposite direction of the intervals within a pressing movement of the other instruments. In the sixth variation, the rhythm of the theme sounds behind the bridge in the cello. The seventh variation brings a far-reaching diminution of the theme and develops it.
After a short interlude (adagio molto) follows movement II (Con Fuoco). After a furious start (A) and after unwinding, this goes into (B) where the rhythm is given but the players can choose notes to be played from a given tone stock. Gradually this changes into a prescribed pitch in a rhythm without a beat (as quickly as possible). The following C is characterized by a 'sehr zart' and is easily recognisable by the many tremolo's. A part D follows that 'Wild' alternates with 'Ruhiger'. Then follows a variation on B and after again (E) a 'sehr zart' with many tremolo's follows a repetition of A con fuoco. Then the work closes with a short coda.
Schematic A B C D B 'E A.
For voice and piano. Duration: 07'.
First performance: Heerlen, 03/12/1989, Marja Schermerhorn (soprano) and Marianne Habets (pf).
Available from the author.
Recording: NOS © 1989 NOS.
As the title suggests, this is a collection of songs that were written on verry different moments in time, in 1982, '84, '84, '83, '83, '86 and date unknown (after '81).
Poems: W. Kusters. Voice, 2fl 2 hob 2cl(basscl) 2bass. 4hr 2trp 2trb tb 2perc vibr pf str(9 9 6 6 2). Duration: 10'. Completed: June/July 1985.
Available from the author.
The first version of this composition was for voice and piano in February 1985. Soon I came to the idea of working it out for voice and orchestra. The instrumentation took place in March and April 1985.
The Poems were taken from Carbone Notata (1979, © E.M. Querido B.V.)
The orchestral parts are instrumental versions of the songs and in reverse order:
Later I wrote on Poems of the same poet 'Two songs for voice and 11 players' (opus 37).
For clarinet and piano. One movement. Duration: 10'. Completed: January 1986.
For N. the unnameable.
First performance: Schinnen (Ter Borg), 22/04/1986, Paulien ten Koppel (clar) and Arno Dieteren (pf)
Available from the author.
Recording: NOS © 1986 NOS.
Telgang was written in the period October 1985/January 1986. The work is dedicated to Matty Niel, my composition teacher. At that time we were hardly on 'speaking terms'. I did not dare to write his name on the score completely in order to avoid any reaction from him. He was also present during the first performance of Telgang (without knowing that this work was dedicated to him).
The title is derived from a movement such as occurs with four-legged animals: the legs move in pairs parallel to each other instead of crosswise. Here this naming mainly relates to the way of counting or not counting a given beat of both players.
The work has several parts that merge into each other. Part A consists of four subparts. The first part (a) – (both players count simultaneously) is based on the beginning of the Dies Irae sequence from the Gregorian Mass.
In the next (b) part one player (piano) counts, the other (clarinet) has a countless (to be estimated) rhythm, then both do not count (!) with a countless rhythm and then one player does counts (clarinet) ), the other (piano) has a count-free (to be estimated) rhythm.
Now follows part (c) in which the clarinet has a prescribed melody and the piano has a prescribed rhythm and can choose from a given tone stock. After (d) both have been briefly free of counting, the piano has a given part and the clarinet a count-free (to be estimated) rhythm.
In the next part B the clarinet has three parts (e, f, g) and the piano three parts (h, i, j) These can be combined freely, that is to say that for instance e can be combined with both h, i or j. Here each performer plays one line simultaneously.
In part C the beginning (k) is very reminiscent of a. Then follows a section for piano solo (l).
Next follows a repetition of B, but now two of the three lines have to be played.
Next follows D with in (m) in the clarinet multiphonics and in the piano chords, then a part (o) that is characterized by the cluster chords in the piano.
Next again B follows, now all three lines are played.
In E, in (p) the multiphonics in the clarinet are further elaborated and combined with melodic figures, the piano plays strict chords and then (q) the chords change in fast movements.
Schematic (a rondo with varied verses starting with a chorus) A B C B 'D B' E.
With pleasuire I thank Paulien, who helped me a lot in solving some technical issues (especially regarding the multiphonics).
For violoncello-solo. Duration 10'. Completed: 10/03/1986.
First performance: Maastricht, 29/04/1986, Alexander Petrasch (vlc).
Available from the author.
Recording: NOS © 1986 NOS.
Viersprong, an allusion to the bow that alternates between the four strings of the cello, was written in December 1985 (I and II), March (III) and May (IV) 1986.
Movement I is in two-parts; a first part above a quickly stroked lowest string (pedal point C) and a part where the movement is characterized by the combination of one, two, three or four notes.
Movement II combines sound color techniques with fast repeating groups of two and three notes (also in quarter tone distance).
Movement III is an ambiguous structure. The order of the 8 Movements is not fixed and is governed by the following order possibilities (it can be started at 1.4.5, or 8):
| 1 2 3 4 5 6 7 8 | 4 3 2 1 8 7 6 5 | 5 6 7 8 1 2 3 4 | 8 7 6 5 1 2 3 4 |
| 1 2 3 4 8 7 6 5 | 4 3 2 1 5 6 7 8 | 5 6 7 8 4 3 2 1 | 8 7 6 5 1 2 3 4 |
Movement IV starts with a part (a) based on repetitive tones and is followed by a part (b), in which the main tempo is alternated with a slower tempo (quarter note=80). It is characterized by the combination of fast notes and quieter flageolets (whistling tones). Then a movement returns (c) that is very reminiscent of the second from part I. Then the work closes with a prestissimo fragment and a short fading-out.
Poems: M.Vrijman (L.D.). Duration 35'. Completed: January 1987.
Commissioned by Louk Dubois.
First performance: Maastricht, 07/09/1987, Eric Hermans (voice) and Tonie Ehlen (pf).
Available from the author.
Recording: private studio recording © 1987 JSL.
The work was written in June-August and October 1986-January '87. The lyrics are taken from the collection 'Oorspronklijken en anderen', later I wrote a number of songs from the same collection (opus 36).
The declamatory (spoken text with music) as an independent art form has fallen into disuse in the twentieth century. The original name "melodrama" has a pronounced negative meaning in Dutch: it means an exaggerated emotional behavior. However It is strongly represented in the history of music. Famous were the melodramas by Georg Anton Benda and the later living Max von Schillings. Schumann and Richard Strauss also wrote melodramas (just to name a few). Also fragments as melodrama occur in operas.
The idea appealed to me. A music, depending on a text that is not recited or sung but spoken. In particular, the adaptation of the music and the timing of the spoken word interested me.
After a prelude (Presto) follows the short text 'De Kolossen', followed by a postelude based on the prelude. Voorzichtig’ for voice solo has a calmer character and - with piano - is followed by a quote from 'Storm'. This text is placed as a quote between the various texts, here taken from the middle part of ‘Storm’.
After a prelude 'We vormen’ follows a repetitive chord section. It connects to ‘Ontevredenheid’ (with alternating ostinate tremolo's) and after an interlude a second quote from 'Storm' follows (the starting text and the already qouted lines).
After a short prelude follows ‘Zweven’ for voice solo.
After a prelude follows 'Tijdmeters' the music stagnates: it is a repetitive movement of two tones.
After a postelude, 'Belangstellenden’ is constantly accompanied by alternating ostinates (constant figures). This part immediately connects to 'Dikke' with a prelude.
Now a presto follows that is based on the first presto.
‘Er is een breuk’ is again for voice solo. After a prelude follows 'Storm', which has already been partially quoted and is now being spoken completely.
After a postelude foloows "De Weg" for voice solo and after a short prelude "Druid's werkplaats" that partly is and partly is not provided with music.
A shortened version of the presto closes the work.
Schematic:
| prelude (presto) | De Kolossen | with music | - |
| prelude (presto) | Voorzichtig | voice solo | - |
| prelude | Quote from Storm | with music | postlude |
| - | We vormen | partly voice solo/partly with music | - |
| - | Ontevredenheid | with music | - |
| prelude | Quote from Storm | with music | - |
| prelude | Zweven | voice solo | - |
| prelude | Tijdmeters | partly voice solo/partly with music | postlude |
| - | Belangstellenden | with music | - |
| prelude | Dikke | with music | - |
| prelude (presto) | Er is een breuk | voice solo | - |
| prelude | Storm | with music | postlude |
| - | De weg | voice solo | - |
| prelude | Druïde's werkplaats | with music | postlude (presto) |
Poems: M.Vrijman (L.D.). Voice, violin, clarinet and violoncello. Duration 18'. Completed: January 1990.
Commissioned by Louk Dubois.
First performance: Maastricht, 06/11/1991, Adrienne Coenegracht (sopr), Anette Krohne (vl), Huub Hellebrand (clar) and Ulrike Ley (vlc).
Available from the author.
Recording: private studio recording © 1991 JSL.
This is my second composition on texts by M. Vrijman (L.D.). Earlier I wrote a declamatory for voice and piano (opus 35).
These Songs have a long history of creation spread over three years: Oorspronkelijken (Februari 1988), Moeder nacht en Voorspel (Oktober '88), Anderen (January '89), Doen (September '89), De zachte wind (Oktober/November '89) and Een goede boodschap (January '90).
Schematic:
| Voorspel | Allegro quarter=152 |
| Oorspronkelijken | Calmo quarter=60 |
| Anderen | Agitato molto quarter=104 |
| Doen | quarter=108 |
| Een goede boodschap | quarter=88 |
| De zachte wind | quarter=100 |
| Moeder nacht | Misterioso, tranquillo quarter=76 |
Poems: W.Kusters. Voice, fl ob clar bsn hrn pf 2vl vla vlc cb. Duration 06'.
Two movements connected together:
Commissioned by the Provincie Limburg for the second lustrum of the Ensemble Contraint.
Dedicated to Death.
First performance: Maastricht, 22/03/1991, by Wilke te Brummelstroete (sopr) and Ensemble Contraint conducted by Arno Dieteren.
Publisher DONEMUS.
Recording: L1 (Radio Omroep Zuid) © 1991 L1.
The work was written in December 1988 and instrumented in January 1989.
The poem Elis is taken from the collection 'het leven op stoomschepen’ and Een deur van lood from 'Laatst' (© EM Querido's Uitgeverij B.V.). The music strongly follows the structure of the impressively beautiful Poems by Wiel Kusters.
Incidentally, it is one of my first works in digital music notation (in the Professional Composer program valid at the time).
For piano. One movement. Basic tempo quarter=100. Duration 06'. Completed: 05/01/1992.
At the request of Tonie Ehlen.
Dedicated to Tonie Ehlen.
First performance: Maastricht, 18 IV 1991, Tonie Ehlen.
Available from the author.
Recording: L1 (Radio Omroep Zuid) © 1991 L1.
Kringloop is a serie of twelve variations/developments based on two measures of part two of the 'Sechs kleine Variationen für Klavier' (1975) by Matty Niël.
This work is a tribute to my composition teacher in Maastricht. It was written partly in 1989 (I/IV, VI and IX) and in 1990 (V, VII/VII, X/XII) and took its definitive form in 1991. The movements I/IV were affected by the death and the funeral (May 89) of Matty Niel.
The work consists of the sequence of instrumental and 'vocal' parts.
The first two measures are the quotation from Niel: it consists of two motifs. Variation I briefly develops the first motif, then a shortening of the second (with imitation) and repeats the short initial development.
Variation II develops motif one and (the shortened) second in a different way against the background of a more virtuosic set of repetitive tones.
Variation III gives a polyphonic (contrapuntal) development of the two motifs, the second here is complete.
Variation IV mainly develops the first motive. A second layer develops from secondary to main layer.
Variation V (agitato) is highly chordant; the chords arise from horizontalizing the first notes of motif two among each other. The character is a continuation of the just important the main layer: agitato.
Variation VI (espressivo molto), After a reduction of the agitato of the previous part, a strict two-part setting, in which the motifs one and two are developed almost quasi vocally.
Variation VII (agitato) is again quick 'moved', especially on motif one
Variation VIII changes the character of a polyphonic setting with that of a melody with a secondary layer (accompaniment), in particular over both motifs.
Variation IX (Wild) again has a virtuoso character and is strongly based on motif two.
Variation X is a melodic main voice (motif one) with two secondary layers (accompaniments).
Variation XI (espressivo molto) is another strict two-part quasi vocal setting about both motifs.
Variation XII (agitato) is a virtuoso ending variation that ends into the two quotation measures of Niël
For harpsichord and alto recorder. Duration 07'. Completed: 03/04/1992.
For Tadé
First performance: Maastricht, 29/10/1999, Mathieu Vermeulen (a-rec) and Fons van de Linden (harpsichord)
Available from the author.
Recording: Stichting Intro © Stichting Intro 1999.
'Naamtrek' (abbreviated signature) was written in March/April 1992 and is a series of variations about an unchanging voice (ostinate). This is in turn based on a bass from the aria 'When I am laid' from Dido and Aeneas (1688) by Henry Purcell.
This ostinate is developped as follows:
Two textless pieces for four-part mixed choir. Duration 12'. Completed: 1993 (?).
Available from the author.
Koorden was written in late March/early May 1991 (part 2) and late September/early October 1991 (part 1). For whatever reasons it took its final form in 1993 (?).
Movement I is characterized by the many imitations and its developments (fugato).
After four voices have presented a rhythm (A: 1-26), a development of these with added melodic fragments follows (B: 27-55). Next is a repetition of 'A' with a fixed added contrary voice and free melodic lines. (C: 56-82). The fourth part (D) develops the imitation rhythms with those of the melodic lines (83-143) after which the work closes with a sound field.
Movement II is mainly a sound field composition. The first sound field (A) consists of three parts: sopranos and altos (1-21), sopranos, altos and tenors, basses (22-51), altos, tenors and basses (52-85) this is concluded with a melodic fragment in the basses.
The second (B) is characterized by the rhythmic structure that allows a free estimation of the rhythm within the measure. Between them mix longer notes that are becoming increasingly important. Ultimately, the free estimate motes fade completely and the long notes remain (86-179).
The third part (C) is not a sound field; there are clear melodic lines that are based on an fixed sequence of pitches.
This leads to a concluding sound field in the female voices: the four-voice sound field (the women's voices are divided) is increasingly thinned out until a pause is inevitable (the end of the work).
For flute and piano. Duration 15'. Completed: 1994 (Revision November. December 1999).
Three connected movements
At the request of Ottolien Otto and Tonie Ehlen.
Commissioned by the Provincie Limburg.
Dedicated to: Ottolien Otto and Tonie Ehlen.
First performance: Maastricht, 13 September 1995, Ottolien Otto (fl) and Tonie Ehlen (pf).
Available from the author.
Recording: Radio-omroep L1 © 1995 L1.
An EPACTA is the number of days that have elapsed on the first January since the last new moon. What attracted me in the word is that a fixed indication (the epacta) is used for a content (the number of days) that can always be different.
Why did I choose this title? Several answers are possible; unfortunately, this immediately leads to technical descriptions; nevertheless I want to try to explain the choice.
In music there are twelve tones in the most common sense of the word. These can be repeated in various registers so that more than twelve tones can be heard by the ear. If these register repetitions are not taken in considerartion, twelve different tones remain; only nine are used in Epacta. The tones C, E and GIS do not occur: there is a fixed amount of tones (the fixed indication) that always acys differently.
The work consists of three linked movements:
The first movement is characterized by groups of tones in the flute and the piano that grow in length; this growth is repeated several times. This part takes about 4 1/2 minutes.
The second movement is in three parts. The first is a melody in the flute that is accompanied by the piano; next the piano has the main voice and is accompanied by the flute (which plays groups from the very first part) and finally in the third part flute and piano play both melodic main voices and accompaniment figures (simultaneously and unevenly). This takes about 4 minutes.
The final movement is divided into two parts. It starts with a piano solo and is characterized by repetitive tones. After the flute has started, the piano plays a main voice which is based on groups from the very first part. Hereafter follows a virtuoso part with notes that are repeated in the flute and supported by the piano with accents.
Next is a reversal of this last part: the music of the piano is - changed - played by the flute and vice versa. The flute starts with a solo that is accompanied sparingly by the piano. After the piano has started, the flute plays a main layer which is based on small groups from the very first part. Then follows a virtuoso conclusion with repetitive tones spread out in the piano, supported by accents in the flute. This part takes about 6 minutes.
Trio for flute, violin and violoncello. One movement. Duration 08'. Completed: 26/08/1995.
Written at the request of Ensemble 88.
First performance: Maastricht, 10/03/1996, Heleen de Witte (fl), Roeland Gehlen (vl) and Alex Geller (vlc).
Available from the author.
Recording: Stichting Intro © 1996 Stichting Intro.
This work was written under great time pressure: I had exactly five days. I do not know anymore why it was like that, eventually the execution took place much later.
The term "Keper" is used in the weaving industry as an indication of the pattern that is created by the way in which the chain and the weft are fed together; here is a symbol for the way in which the voices are connected.
The work consists of eight parts. In the first part (introductory) the three instruments form together one instrument. The second part is a flute solo that is accompanied by the two other instruments. The third part is a duet between violin and violoncello, accompanied by the flute. The fourth part is a violin solo in which the two other instruments accompany. The fifth part is a duet between flute and violoncello, accompanied by the violin. The sixth part is a violoncello solo that accompanies the two other instruments. The seventh movement is a duet between flute and violin, accompanied by violoncello. The eighth and final part is a trio: three instruments are treated independently.
Seven songs for voice and piano on poems by Leo Herberghs. Duration 07'. Composed 07/08/1995, (minor revision: spring 2002).
Available from the author.
It is my first cycle of songs on texts by Leo Herberghs. I came across his collection 'Heilig Weer' during a sale of books in the city library Maastricht. I was immediately very impressed and I determined to do something compositional with it.
The songs were written in late July and early August during a holiday in Italy (Limone sul Garda) when it was so hot that you could hardly be in the sun during the day. I had the poems of Herberghs in my suitcase and that's how I wrote these short songs on a shady terrace, of a house in a mountainside, with a fantastic view on the Garda lake.
In 2000 I wrote six songs from the same collection of poems for voice and piano ('Veraf geblazen adem' opus 54) and later (2020) eight more songs for voice, flute, clarinet, violin and piano ('naluisterend licht…'opus 124).
For organ. One movement. Duration 07'. Completed: 16/01/1996 (revision: 10/11/1999).
At the request of the foundation Orgelconcerten Noorbeek.
First performance: Noorbeek, 01/08/1996, Hans Leenders.
Publisher: Stichting Orgelconcerten Noorbeek.
Recording: Radio 04 © 1996 KRO.
Rabot was composed from late October to early December 1995. The final form it had in January 1996.
The title Rabot is a Dutch word for a 'sluice in a brook, swin or watercourse' (Van Dale's Handwoordenboek der Nederlandsche taal 1925). The word refers to a hindrance in a flowing whole. This obstruction is found in the composition in the form of strongly rhythmic parts that enter into a combat with melodic movements in the piece. First the melodic movement breaks through this obstacle, then the rhythm is stronger than the melodic.
After a brief introduction, a strongly rhythmically determined part follows (rhythmic sound field): in six layers the same tones are repeated at different time intervals. Because of the shifts, resulting from the different time intervals, these tones are constantly in changing connections, as a result of which different gestures arise.
Two of these six layers remain. A melodic movement develops beneath which, after the disappearance of the two remaining, melodic layers, takes over.
Soon this - now one-voiced - movement will have to accept interruptions by chords and chord sequences. After the chords have pushed away this main voice they come to a standstill in the form of a chord that is repeated for some time. This chord is then phased out and loses itself in a second, strictly organized, rhythmic sound field.
Only two layers of this sound field remain and a melodic voice appears again. Now, however, the melodic line looses from the too strong rhythmic movement. This extensive continuation of the second sound field grows into increasingly complex compound chords. Finally, a varied repetition of the beginning follows.
Incidentally, this piece, like some of my other works, consists of only nine tones; in Rabot the e, g, and b flat do not occur.
For 6 accordions. One movement: quarter=100 half=88 quarter=100. Duration 15'. Completed: January 1998.
Commissioned by NCRV Radio.
Dedicated to Cees Zeevaart.
Publisher: DONEMUS
Dragspel (the Swedish word for accordion) was written in the period February/May 1997. Eventually it found its definitive version in January of the following year.
The form is organized on the basis of two main subjects(almost the exposition of a sonata with fore- and afterplay). After an introduction of three minutes (1-105) follows subject 1 (1 minute). Then follows first a confirmation of the main tone of the first subject (e) in measure 105-165 which lasts about 1.5 minutes. Next the e is left as a reference tone and we move to the b flat (165-219) in about two minutes.
Now follows main subject 2 with as reference tone the b flat (220-243) that lasts for 1 minute. Next follow three groups that become shorter in time (70 '', 50 '', 30 ''), first as confirmations of the tone b flat in 244-270, then via g 270-287 back to e (288-300) . The following is a three-minute postlude, with elements from the introduction.
Trio for violin, violoncello and piano. One movement: quarter=100. Duration 07'. Completed: Autumn 1997.
Commissioned by the Limburgse Muziekscholen. Especially: Stichting KV Noord-Limburg.
Composed for the pleasure of all who have made the first progress on their instrument.
Available from the author.
Touter was written in November 1997 and was part of a project of the Limburg Music Schools to give composers a commission to write works for children who had not advanced that far on their instrument.
Initially I received a positive response from Venlo, the composer Gerard Franck complimented me on the work. Yet later it turned out to be difficult to perform this work.
It consists of a simple A-transition-BC, in which the parts gradually become shorter: respectively 3.5 minutes, 2.20 '(2/3 of the A) and 1.10' (1/3 of the A) a short coda (25 ') closes the work. The A consists of two elements (a and b) that are always shortened in sizes (interrupted by an equal c and d):
| a | b | c | d |
| 8 | 14 | ||
| 6 | 12 | ||
| 10 | 10 | ||
| 4 | 10 | ||
| 2 | 8 | ||
| 10 | 10 |
This is followed by a transition with a shortening of the number of measures that the musical idea takes: 6,4,2 (+3) measures respectively.
The B consists of three longer groups: e has 13 + 12 measures, f has 5+ 10 measures, g has 10 measures.
Then (C) follows a repetition of c and d where the movements, which were first in one instrument, are now divided over the different instruments: first by two than by three instruments.
Finally, a coda.
For female choir. Duration 08'. Completed: spring 1998.
movements:
At the request of Vocaal Ensemble Kerkrade.
Available from the author.
I wrote this work in two days on Tuesday 26 and Wednesday 27 May 1998. They are textless pieces for a two-three- and four-part female choir consisting of soprano and alto voices. The title refers to the conjunctive function that the music has to the two voices that are connected to each other by the music.
In movement I the first part A starts with a melodic development from a unison (a), followed by a short rhythmic part (b). The next part (B) develops the preceding a part (c) and closes with the short rhythmic part (d). Then follows C, a development about the preceding b part that closes this movement.
The second movement is predominantly in four voices and consists of four parts. The first part A is a sound field that moves within a fifth (d'-a '). The second part B extends the movement to a larger size (octave + third: b-d). The third part (C) reverts to the sound color movement within the same fifth as in the beginning. A Coda closes this part with the fifth (d'-a ').
For viola-solo. Duration 07.5'. Completed: autumn 1998.
At the request of Pierre Colen.
Available from the author.
I worked on Rasure in the spring (Part I) and in September (Part II) of 1998. The title refers to the many deletions and the erasing especially in the second part: at a certain moment I had the impression that more notes had been erased than actually written.
The first part is quiet and consists of a sequence of unequal sentences 7, 9, 8 and 10 and 11 measures respectively. It shows a gradual development from a tone to a movement of several tones and gradually back to the starting tone.
The second part is a bit more complex but has a clear structure A B A’ C A" D. A is a sequence of mirror structures (back-to-front mouvement), two times: a three-measure given, followed by the mirror of those three measures, two times: a two-measure given, followed by the mirror of those two measures, and two times: a one measure given followed by the mirror of that one measure.
After a short play of colors on tone G, B follows.
This - like C and D - consists of a very free sequence of tones in a virtuoso setting. The principle is that open strings are combined with the second ones.
The variant of A (A’) is a mirror of the whole A. In fact, this is a sequence of first the mirror and then the original movement (first two times with one measure, then two times withe two measures and then two times in three measures).
After C follows the second variant of A (A"): this is the sequence of A with a register change and a changed rhythm of A while retaining the mirror structure.
After D there is a short conclusion.
On April 15 and 16, 2020, I made a revision of this work: nothing has changed in the original compositional thought, the ideas are only noted more clearly.
Orchestra: 2fl 2ob 2clar 2bsn 4hrn 2trp 2trb tb 2perc str. Duration 12'. Completed: 29/09/2004.
Available from the author.
This work also has a long history. First versions were available in June and September 1998. In January 1999 I instrumented the first and in March the second part. The final form was in September of the year 2004.
The first movement starts with an A consisting of a main idea (a) a development (b canonic) and a standstill on an chord (c and d). Then follows B with a second main idea (e) and its variations in the next parts (e ', e' ', e' ''). Now follows C, a developping part that is structured thus: f (develops a), g (develops b) h (develops c) and i (develops d) and with it a developing repetition of A. E is a repetition of e with three variations (e4, e5, and e6), and with it a developing repetition of B. Finally, a part F follows which leads through a reduction of size grouping (13.13.9.9.5.5.3.2.1) to a closure.
Schematic:
The second movement is an A with four groups (a, b, c, d) and a B with four groups (e, f, g, h). This is followed by a development on A (in four parts) and on B (in four parts) after which the work closes with a Coda.
Both Movements are similar in structure, but are completely different in terms of content.
Duration 14'. Completed: 29/04/2004.
Available from the author.
This work has a long history. Started in February 1995 it was continued in 1999 in the months of April/May, September/December. Lastly in January 2003 the second part and in March 2004 the first part was completed. Looking back, I do not remember why this all had to last like this…
In the first movement there is a leading role for a grouping of seven measures: it determines the whole part, which is a theme (in three groups) with two variations. The first part (A) consists of first (a) of three groups of seven measures, then (b) of three groups of seven. Then follows A 'with first (a) three groups of seven, then (b') with three groups of seven and then (c ') three groups of seven. Now (A '') with (a '') three groups of seven and (b '') three groups of seven and finally (c '') with three groups of seven.
The second movement consists basically of five groups of equal length. Each group consists of two gestures. The first (A) from an a and b (which is a development of a). The second (B) consists of c and d both of which are a development of the previous b. What follows (C) is derived from the first a and b and the next (D) is derived from c and d. The work ends with a part E that is derived from the first A.
For saxophone quartet. One movement. Duration 11'. Completed: 29/09/2000.
Available from the author.
The work was written in February-March and Completed in September. The title is the result of an erroneous reading of the word kilkoud (kil-cold) that I first read as kilk-old. I wondered what that meant, but I liked the sound of the word kilk, so it became the title of the work that I wrote at the time.
The work begins (A) with the contrast between a melodic (a) and a rhythmic part (b). After a variation of this a (a ') follows a variation over the b (b'). Next is an unstable transition part (B) to a canonical part (C), in the sense that the imitations of the canon are variations of what is imitated (canon varié). Subsequently (D) a development occurs over b and b 'and then over a and a'.
Now the parts A, B, C and D are repeated: however in the order C, B, A, D. In whole it is a varied repetition in the sense that the elements are arranged differently and thus enter into a different relationship to each other.
A coda closes the work.
For two pianos. Duration 11'. Completed: 25/10/2000.
Available from the author.
The first version was written on June 19 (III), and 21 (I), August 22 (II) 2000.
Movement I is based on two movements: a short rhythmic motif and a melodic gesture. The first part (A) is thereby controlled. The second part (B) is at first strongly rhythmic in nature, then the melody returns and after that the rhythmic motif is developed. The next part (C) is similar to A: the same gestures in a slightly different environment. The last part (E) takes the melody as a starting point, but then it becomes strongly rhythmic, reaching back to the melody, that culminates in a short development of the first rhythmic movement.
The second movement is very symmetrically built, it consists of two groups of two times four measures, followed by four measures of closure.
Movement III consists of five groups of unequal length. This part has a decisively strong rhythmic movement (a) and a less important melodic movement (b).
The overview:
| A | a/b |
| a/b | |
| B | development on a |
| rhythmic reduction from the previous line | |
| development on a | |
| C | development on the augmenation of a |
| idem | |
| a big crescendo (getting louder) | |
| a long diminuendo (softening) | |
| D | development on a with contrasting (more lyrical) character with regard to B and C |
| idem | |
| more rhythmic development on a | |
| rhythmic reduction from the previous line | |
| E | (final group) development on a |
For two pianos. One movement: quarter=108. Duration: 06'. Completed: 21/08/2000.
At the request of Tonie Ehlen.
Available from the author.
The first version of this work was written on August 14.15, and 16 and completed on the 21st.
It consists of three blocks that each consist of three parts. Block 1 begins with a strong rhythmic part (A) followed by a more melodic part (B) followed by another strongly rhythmic part (C). Now in block 2 a part D developed from A follows, then a variation on B (B '), and E, which is a development on the preceding B part. Block 3 starts (F) with a development from A and B, followed by a second variation on B (B '') and then a strong rhythmic development from C.
Schematic:
| A | (rhythmic) |
| B | (melodic) |
| C | (rhythmic) |
| D | (developed from A) |
| B'' | (variation on B) |
| E | (developed from B ') |
| F | (from A and B) |
| B'' | (a second variation on B) |
| G | (developed from C) |
7 songs for voice (baritone) and piano. Duration: 14'. Completed: 28/09/2000.
At the request of Peter Eijkenboom.
First performance: Limbricht, 20/05/2001, Peter Eijkenboom (bar) and Tonie Ehlen (pf). In presence of the poet.
Available from the author.
The voorspel and the following six songs were written in the month of May (voorspel, ademt, bestaan, akker, nauwelijks, oud dorp, bestaan) In the end of August i wrote 'stiller' and in the beginning of September 'schrijven'.
This is the second cycle of songs on poems by the poet Leo Herberghs, whom I admire. They were all taken from the collection ‘Heilig Weer’ (1978). Earlier (1995) I also wrote seven songs for voice and piano (opus 43) from the same collection of poems and later (2020) eight songs for voice, flute, clarinet, violin and piano (“naluisterend licht…” opus 124)..
The second song 'adem' is used as a song with four variations in my op. 58; a work for piano quatre-mains (2002).
One movement: half=40/quarter=80. Duration: 13'. Completed: 15/04/2003.
Available from the author.
This work was written at the end of March in early April 2001 and finally completed in March 2003.
Originally, with what later became quartet IV and V, this was conceived as a work with three parts. Because I feared that this would be too much (especially too long!) for the listener - each part requires a lot of attention - I left it for a long time. I did not know what to do with it.
Then in 2003 the idea came to divide this quartet into three independent works. That explains the long period between the first composing period (2001) and the dates of completion of these works.
The composition is strongly determined by the rhythm that is dominant in the composition – exept for a few melodic fragments. It gives the whole a whimsical (capriccioso) character.
One movement: quarter=120. Duration: 07'. Completed: 16/03/2003.
Available from the author.
This work was written in late April early May 2001 and finally completed in April 2003.
A three-part beginning (A) is developed (B) followed by a variation of this development (B') After a short part from A, a second variation follows on B (B' '). Next is an entirely new development (C) that carries elements of A and B. Finally there is a development (D) that incorporates elements from A and C.
Schematic:
| A | |
| B | (from A) |
| B' | (first variation on B) |
| (something from A) | |
| B" | (second variation on B) |
| C | (from A and B) |
| D | (from A and C) |
One movement: quarter=100. Duration: 09'. Completed: 26/02/2003.
Available from the author.
This work was written in April, May 2001 and finally completed in February 2003.
It consists of three parts, an A (scherzo) which is followed by a B (trio) and by a varied repetition of A. The A in turn consists of four contrasting parts 1,2,3,4. The B consists of three contrasting parts 5,6,7. The repetition of A is done in such a way that the parts are placed in reverse order 4.3,2,1. Then a brief conclusion follows below.
For piano four hands. Duration: 14'. Completed: 08/03/2006.
Available from the author.
The work was written in the months of September/October 2001. After that it remained in this form until January 2006 when I returned to this composition. Eventually it was completed in March of that year.
The first movement is an instrumental setting of the song 'ademt de wereld zich leeg’ (op 54 nr 1) followed by four variations.
The second movement is a development onto an occlusion. A melody (10 bars) sounds after two introduction measures. This melody is repeated - after three measures of a interlude - in a different register with the intervals in the opposite direction to the original. Then it is repeated in its first form. Next follows a systematic shortening of this melody; first to six, then to five, then to four, to three, and -after a measure of interlude-to two measures. Then the piece closes in three measures.
The third movement is first a given with two variations (A A 'A' ') than a B with a variation (B B') and then a third variation on the first given (A '' '), then a second variation on the second (B '') and then there is a closing part (C).
For flute, clarinet, guitar, percussion(1), violin, violoncello and piano. Duration: 10'. Completed: 13/03/2002.
Available from the author.
Movement II was written in November 2001 and movement I in December 2001/January 2002. It was in the end instrumented in February/March 2003.
The first part unites three characters, that of a toccata (fast, restless part) a recitative (quasi spoken) and a chorale (slow melody in predominantly equal note values):
| A | agitato: toccata |
| B | calmo : quasi reciting |
| C | robusto choral |
| (something out of A) | |
| B' | (variation on B) |
| C | (from A and B) |
| D | (from A and C) |
The second part is written in a (two-part) fugue technique.
Exhibition with two times the theme
Interlude
Re-exhibition with two times the theme in the same voice
Interlude
Re-exhibition with one time the theme
Interlude
Re-exhibition with one time the theme
Closing after cadence.
Poems: Jac. Schreurs; for voice(S) 2fl 2ob 2clar 2bsn 2hrn 2trp 2trb tb perc str. Duration: 11'. Completed: 28/01/2003
Available from the author.
The editors Hans op de Coul, Ben van Melick and Inge Sijben of L1 broadcasting spent a series of programs in 1999 ("But there is more .... Poetry of Limburg in the twentieth century") to Limburg writers.
This resulted in a publication, and in 2001 or 2002 I read in that book that the poet-priest Jac. Schreurs (1893-1995) had written poems in Limburgish dialect. A number were printed: I was immediately affected by it.
The songs were written in August 2002, instrumented in August/September 2002 and found their final form in January 2003.
Incidentally, I have translated the texts into Dutch, so they can also be performed by non-dialect-speaking singers.
Voor gitaar. Duration: 08'. Completed 07/01/2003.
Available from the author.
The three movements, written at the end of November in early December 2002, merge into one another without a break, making the three parts work as a whole.
I was inspired by the excellent guitar class at the Maastricht Academy of Music. During the many examinations I was allowed to preside there, the students of Carlo Marchione made a big impression on me and that prompted me to deepen myself in the possibilities of the guitar. The first elaboration was in a work for chamber music (Iridium 2002).
In utramque is my first work for guitar solo.
One movement: quarter=60. Completed: 30/09 2003, revision: 16/02/2005.
Available from the author.
This duo was written in late August 2003 and was completed at the end of September 2003. In January/February 2005 the work underwent a thorough revision.
The composition is melodically based on an expanding group of two to six notes. Each group consists of a movement rising and the same distances falling, resulting in six groups of two movements. This idea controls the work.
The first group brings the intervals first into violin 1 (violin 2 accompanies) than in violin 2 (violin 1 accompanies) and another time in violin 1 (violin 2 accompanies) than in violin 2 (violin 1 accompanies). Then both violins have four times the interval sequence in different transpositions. The work closes with the sequence in violin 1 (violin 2 accompanies).
This results in the structure:
A (four times the sequence in one of the instruments)
B (four times the sequence in both instruments at the same time)
Closing (once the sequence in violin 1, with repetitions and ornamentation in the violin 2)
For piano. Duration: 14'. Completed: 19/04 2004.
Available from the author.
The pieces were written in the months of October/November 2003. In 2004 they found their final form.
For horn and piano. One movement: quarter=100. Duration: 07'. Completed: 28/08/2004.
Available from the author.
The work was written in late May in early June and Completed in August.
It consists of five parts. After a first part (A) and a transition (B) a group in three parts: C, D and a variation of C.
In the A part, the horn is a secondary layer, in the transition (B) its musical meaning grows to become the main voice in C, becoming so independent in D that it detaches itself from the beat (time estimation of the rhythm), retakes the beat as main voice in D and then slowly extinguishes as the main layer.
For oboe and piano. Duration: 08'. Completed: 01/12/2004.
One movement. At the request of Part Partouns.
First performance: 27 VI 2005, Maastricht, Bart Partouns (hob.) and Peter Soeters (pf)
Available from the author.
It must have been in the middle of 2004 that Bart Partouns came to me to ask if I had ever written anything for oboe. That was not so. At that moment I was working on completely different pieces.
In the beginning of October it happened that something came out of my pencil that would be very suitable for oboe and before I knew it I left what I was working on and I turned out to have started a work for oboe and piano. The first sketches are dated on October 3, the last on November 11, 2004. Then follows a period of elaboration and refining: the final date is December 1st.
Meanwhile, another student of the Peter Steijvers came to me with the same question as Bart. Tribute to this main subject teacher oboe, which encourages his students to contact composers and encourage them to write work or to investigate whether already written work can be performed and then do it!
In plano means; at the same level. I chose this title to indicate that piano and oboe both form an equal part of the composition; there is no stratification in the form of an unambiguous main voice and an accompaniment. Here or there one voice can shortly support the other; essentially both are equally important.
For flute, oboe, clarinet, bassoon, 2 horns, trumpet, trombone, 2 percussionists, strings (8 6 4 3 2). Duration: 12'. Completed: 26/10/2005.
Available from the author.
The composing started in 2004, between March and the beginning of May, the movements were completed in particel (a version on some bars with summary instrument designation). The instrumentation was a year later, between the end of June and the end of October 2005.
The nine Movements are arranged in three groups of three movement. The movements I, II, and III return as VII (is III), VII (is variation of II), and IX (is I from back to front at a different tempo). The middle group is also symmetrical: IV and VI are based on each other so that V functions as a middle part of this group (and of the whole work).
On the basis of this set-up it can be said that the MovementsI, II, III and IV after part V return in the reverse order back to the starting point VI=IV, VII=III, VII=II and IX=I.
For 2 violins, viola, 2 violoncelli. Duration: 20'. Completed: 09/04/2005.
One movement, quarter=80.
Available from the author.
An experienced chamber musician told me that there are only few string quintets with two violoncellos. That gave me an idea. Texture was written in the months of December 2004 and February 2005. The final version was finished in May.
This quintet is in one movement and consists of five parts with a coda. The first part (A) is developed in the second (B), the third (C) is a development of B (and thus indirectly of A), the fourth (D) is a contrasting part (new material) and the fifth part (E) is a development from D. A coda (final part) concludes the work.
For piano. Duration: 16'. Completed: 21/12 2005.
Available from the author.
In my elementary school, lessons in music consisted exclusively of singing folk songs, or those which were taken for granted. That is how I learned a great repertoire. It is my first experiences with music performing and experiencing.
The fantasy was written in July 2005.
The folk songs are worked as if in a great fantasy and are provided with pre- and interludes. The songs are not always quoted literally. They have been edited: fragments are often omitted which interrupts the recognition stream (if there is one already) and draw attention to the moments when the song is resumed.
The opus 69b is a version with the succession of the edited songs without introductory, connecting and closing parts.
For flute, guitar, violoncello and harp. Duration: 15'. Completed: 18/10/2007.
One movement, quarter=80.
Available from the author.
The work has a long history with many interruptions. Started in 2003, continued in 2006, it was finished in 2007.
The title refers to the solistic treatment that each instrument receives in the order cello, flute, violin, harp. When this instrument is a soloist, the others form a supporting layer. These concerted parts are preceded by an introduction, interrupted (after the solo of cello, flute and harp, respectively) by interludes and concluded with an postlude.
Clockwork-music for carillon. Duration: 02'. Completed: 22/08/2006.
Commissioned by the Provincie Limburg for a Carillon Project for the carillon of St. Petruskerk, Sittard.
First performance: september 2007, Sittard, Mechanical production
Available from the author.
The work is written and focused on the size of the carillon of St. Petruskerk in Sittard.
To make a link with this church I chose the Communio (the song during the Holy Communion from the Roman Catholic mass, in the Gregorian version in the feast of the HH Apostles Peter and Paul, which is celebrated on June 29) in the work to include. From this song the first notes on the text 'Tu es Petrus' (You are Peter) are incorporated into the music of the whole hour. This melody serves as the basis for this music and is, already a centuries-old technique, placed in long notes in the bass of the work: a so-called cantus firmus (fixed singing).
The music belonging to the first quarter, half hour and third quarter are derived from this whole hour: the first quarter of the end, half hour of the middle, and the third quarter of the beginning of the whole hour version.
Poems by Petra Maria Amrhein; for voice, clarinet, bassoon, 1 percussionist, viola, violoncello, double bass. Duration: 21'. Completed: 20/06/2007.
Available from the author.
This work is an instrumentation of previously composed songs for voice and piano, which were originally written in 2002,2003,2004,2006 and 2007 respectively as a birthday present to the poet
For 2 flutes, 2 oboe's, 2 clarinets, 2 bassoons, 2 horns, double bass. Duration: 07'. Completed: 15/01/2008.
Comissioned by the Provincie Limburg.
First performance: Wahwiller (L), Ensemble Helicon conducted by Björn Bus
Available from the author.
Written as a contribution in the Wahlwiller Passion (dedicated to the artist Ad de Haas on text contributions by G. Setola) a project of the Limburg Composers Foundation.
After a short introduction follows a Marcia I, after an intermezzo in a slightly slower tempo follows the Marcia II, a short quick part closes the work.
poem van Ronny Someck; for voice, clarinet, violoncello. Duration: 12'. Completed: 24/04/2008.
Commissioned by Poetry Nights Maastricht 2008.
First performance: Maastricht, 20 X 2008, Regula Boeninger (mezzo soprano), Wolfgang Güden (clar), Julius Stenzel (vlc), in presence of the poet.
Available from the author.
The poem 'Stotterend kind' is taken from the collection 'Blues van de derde zoen', poems translated by Hilde Pach, (Maastricht, Azul press 2010). It is the poignant look back of a stuttering child on his youth, the support he received from a teacher ('... told that Moses stuttered too') and an unspoken (!) amorousness.
The work is written as a song with extensive instrumental interludes in which the melodies of the sung parts are quoted:
I foreplay (from B and C)
A first part of the text
II interlude (from C)
B second part of the text
III interlude (from A)
C third part of the text
IV interplay (repetition C)
D fourth part of the text
V afterplay (shortened version of D)
For flute, oboe, clarinet, horn, bassoon, piano. Duration: 15'. Completed: 09/12/2008.
Available from the author.
The reason for the composition of the work was a concert with the Sextet by J.N. Hummel, a work that appealed to me during the performance and gave me the idea to write for these instruments.
The movements were outlined in the months of August (II), August/September (I) and October (III). Immediately afterwards the elaboration began, which was completed in December.
The basic idea of this work is to connect combination of instruments with structure. An inventory showed that with these instruments 15 duets, 20 trios, 10 quartets, 6 quintets and a sextet can be formed. These possibilities were divided over the three parts.
Movement I: is a theme with six variations and consists exclusively of quartets. Although all instruments are included in the the performance, no more than four are used simultaneously. Thus movement II consists exclusively of duets. Movement three consists of trios, quintets and a sextet (closure). This end is the only time that the six instruments are audible simultaneously.
Movement II: This section consists exclusively of duets and has a structure in which an ostinate (the same figure, albeit in alternating registers) is interrupted and repeated.
A : piano (ostinate 1)/bassoon)
B: interruption: flute/oboe
A': piano/hoorn, hoorn/fagot (ostinaat 2)
C: flute/oboe
A'': piano (ostinate 1)/clarinet, clarinet/bassoon (ostinate 2), clarinet/horn (ostinate 3)
D flute/horn
A''': piano (ostinate 1)/oboe, oboe baton (ostinate 1), oboe (ostinate 2) // horn, oboe/clarinet (ostinate 3)
E flute/bassoon
A'''': piano (ostinate 1)/flute.
It can also be seen that the A parts are getting longer and longer, the interruptions remain short.
In movement III, this idea of changing occupations (as opposed to the same occupations - quartets and duos - of the first two parts) is elaborated in a three-part structure:
A A’ A’’ A’’’
C D(from C) E(from C) C’’
B(from A’) Var. on A’’ B’’ B’’’(from A’’)
Coda
Within this structure the instruments are used as:
A: 4 trios A’: 3 trios A’: 2 trios A’’’: 1 trio
C: 2 quintets D(from C) E(from C): 2 quintets C": 2 quintets
B(from A’): 3 trios Var. on A’’: 3 trios B’’: 3 trios B’’’(from A’’): 3 trios
Coda: sextet
To support the instrumentation, a transposition scheme that consists of a succession of four whole tones, four thirds and again four whole tones, runs from a-flat to a-flat:
A (a-flat), A’ (b-flat), A’’ (c), A’’’ (d), C (f)
D(from C) (as), E(from C) (as), C’’ (b), B(from A’) (d)
Var. on A’’ (e), B’’ (f-sharp), B’’’(from A’’) (a-flat), Coda (a-flat)
>For piano. Duration: 36'. Completed: 11/05/2009.
Available from the author.
The idea was to write a work for piano solo with a duration of 45 minutes, in the end it turned to 36, nevertheless: an almost complete program part - before or after the break - taking work. I realize that the execution opportunities will be significantly reduced. It requires courage to offer the public a work of this length of the same composer; certainly in an unusual style for most members of this audience.
What drove me was the need to write a work with long structures. When I looked at my work to this point, I noticed that I mainly created short movements. Writing long compositions requires a technique that I apparently had little used until then. I studied Schubert, notorious for his long compositions, and started to work.
The work on this composition was begun in September 2006. The sketches of the first three movements were completed on 8 November (I), 10 November (II), 28 November (III) and a first start of the last part (30 measures) on December 14.
After this, the work was stopped and interrupted by the compositions of Ex Morbo assurge and Stotterend Kind.
It lasts untill May 2008 that the composition of the fourth movement was resumed, which was completed in June. Again the work was interrupted by another composition: the Sextett, this composition was completed in December 2008.
Subsequently, in January 2009, the movements of the sonata were reviewed separately. First the final movement was worked through in detail until finally on March 19, 2009 a version was prepared that could be considered fully developed. Movement two followed and was completed on March 25. Movement three required a bit more work and was considered completed on 23 April and finally movement 1 on May 11.
So, there were more than two and a half years between the start and the completion of the work.
One movement: quarter=80/quarter=168.
For alto saxophone and piano. Duration: 16'. Completed: 03/02/2010.
At the request of Xavier Scheepers, Dedicated to Xavier Scheepers and Robert Weirauch.
First performance: Maastricht, 27 I 2012, Xavier Scheepers(sax) and Robert Weirauch (pf)
Available from the author.
The title of 'Tweebast' (bark of almond willow, consisting of two layers) indicates how much in this work saxophone and piano are connected in two interlocking layers.
After a slow introduction (1-18) follows a presto that has the structure of a sonata: exposition (19-204) development (205-368) re-exposition 369-636).
With this I wanted to write a work that is in one movement and indeed consists of only one part and not of succession of individual parts flowing each other. It is then important to give the listener the opportunity to listen to the music without too much tiring, then the listener will pull off, which can happen too easily with a long and complicated piece.
The music must be asking for attention and asking less attention, that is the condition to enable the listener to follow the musical progress of the work and that is what is strived for in this work.
Variations on a melody from the Speelmansboek uit Maastricht, blz 142: Cephise
For flute, alto saxophone, percussion, 2 violins, viola and violoncello. Duration: 07'. Completed: 14/04/2010.
Comissioned by the Provincie Limburg.
First performance: Maastricht, 17/10/2010, ensemble conducted by Arno Dieteren.
Available from the author.
The work is written as a contribution to the Klinkend Changement project of the Stichting Limburgse Componisten.
The composition consists of five variations on the given melody. It was explicitly the task to reduce the ensemble, in a given order, from tutti to violin solo.
In the first variation - for the entire ensemble - the theme (the melody) is played exclusively in the cello; however, that after one measure, two are paused (omitted). The order is thus: measure 1, two measures break (is measure two and three of the song), measure 4, two measures break (is measure five and six of the song) etc. After repeating the theme three times, all measures are played once and thus the melody, albeit continuously interrupted, in its entirety.
The following variation is a quartet for flute, alto saxophone, violin 1 and violoncello. The given melody appears to consist of nine fragments. These fragments are arranged as a canon between flute and saxophone, albeit that all notes that rise in the flute fall in the same distance in the saxophone and vice versa. Also the note values are oblongated. For lovers: a canon in contrary-wise movement (for connoisseurs: canon a due voci per moto contrario in tritonus per augmentationem).
What might make it more difficult to identify the meoldy is that the notes are not placed in the original position of the melody, but some are one octave higher and others an octave lower. (Imagine singing a melody, noticing that it gets too high and you automatically jump to another register and sing there: this jump is an octave).
In addition to a second layer with the violin, the cello also plays octaved fragments of the original melody.
The third variation is a trio for flute saxophone and violin. The melody is strongly fragmented (notes are omitted) with octave displacements and some parts of the nine fragments are played transposed (some notes by the violin).
The fourth variation is a duo for flute and violin: the melody is divided along the registers in the manner already used and alternately played by the two instruments. This variation is as a solo for two instruments because of the many tempo fluctuations it stops .
The fifth variation is for violin solo: the nine fragments each have their own tone (according to a division in nine pitches of the octave) and the melody becomes difficult to recognize by the octave-displacements of the originally given register of this melody. The variation is very solo due to the constant tempo fluctuations and downtime.
This structure is easy for the listener to follow through the line-up and because each variation is concluded with a fragment for one instrument.
poem: Frans Budé. For voice, 2 flutes, 2 oboe's, 2 clarinets, 2 bassoons, 2 horns. Duration: 06'. Completed: 16/06/2010.
At the request of the ensemble Helicon.
One movement, quarter=80.
First performance: Maastricht, 26/10/2010, Fenna Ograjensek (voice), ensemble Helicon conducted by Björn Bus. In presence of the poet.
Available from the author.
Recording CD Forum op Maastrichtse componisten en dichters, 2010 © L1.
The title of the poem by Frans Budé is related to the large, bronze sculptures placed on the Forum square (at the MECC) in Maastricht.
The voice closely matches the rhythm and the accentuation of the words from the poem. I was delighted that the poet was very pleased with this work.
poem: Breyten Breytenbach. For voice, violin, violoncello. Duration: 05'. Completed: 25/08/2010.
Commissioned by the Poetry Nights Maastricht 2010.
First performance: Maastricht, 29/10/2010, Lajla Sarian (sopr.), Paulina Tarnawska (vl), Paul Stavridis (vcl). In presence of the poet.
Available from the author.
Recording CD Blind op Reis, 2010 © Azul Press.
The poem 'blind op reis' is included in a collection with a Dutch translation next to the original South African text (Breyten Breytenbach: De Windvanger, 2007, Het Podium Amsterdam).
With all due respect for the translation, I have chosen to compose the poem in South African languge. A perilous undertaking; because where are accents placed, what is pronounced long or short and so on? The poet Hans van de Waarsenburg strongly dissuaded me this choice.
I chose the South African version, partly intuitively, partly because the rhythm of the poem gave me a guideline.
I was quit releaved to hear from Breytenbach himself that he was very pleased with the text treatment.
For 3 guitars. Duration: 03'. Completed: 21/10/2010.
One movement: quarter=92
Available from the author.
The work requires the players to place the fingers (index, middle, ring finger, pink) on the first four frets of the guitar, regardless of the string.
It consists of two ideas (phrases). After they have been posited, the first and then the second are developed, followed by a short closure.
For organ. Duration: 10'. Completed: 30/12/2010.
One movement.
Available from the author.
The work is a passacaglia in which the repetitions of the theme are worked out in a series of character variations.
The passacaglia theme consists of a fixed melodic and rhythmic pattern. The duration of the notes can be represented in sound and / or in rest: however, the moment of altitude change is maintained.
| A | -theme (E-flat*) divided over registers |
| -theme (A) as melodic main voice | |
| -theme (E) in bass and in middle register in contrary-wise movement and contretemps(canon) | |
| B | -theme (E) in augmentation 1: 2 with as upper layer a canon in tritonus, contretemps and contrary-wise movement |
| -thema (B-flat) in augmentation: 1:1.5 (2:3) with a canon in tritonus first in rectus, then in countermovement | |
| -theme (F) in original rhythm with in a upper layer a canon in counter mouvenment over the melos of the theme | |
| C | -theme developped as toccata: the different layers are derived melodically from the theme: two-part G. T. in F/F-sharp, then three-voiced T. TK. K. in B-flat/F-sharp/G then four-part G. T. TK. K. in D-flat/D/B-flat/B) |
| D | -theme as fugue: exposition (F/C/C/F) with a re-exhibition (B) in which a total change of character, theme in highest voice with free counterpoint and after a short divertimento a second re-exposition (stretto in counter movement rectus/contretemps) (E) |
| C | -repetition toccata, where notes are octaved, with fragmented legato-positioning of the different layers: two-part G. T. in E/F, then three-voiced T. TK. K. in B/G/A-flat then four-part G.T.TK. K. in E-flat/E/C/D-flat) |
With this technical analysis, although it is limited, the rational part of the composition process can be reconstructed, actually it belongs on my worktable at home, what leaves my desk is only important as music...
For 4 trombones. Duration: 07'. Completed: 17/02/2011.
One movement.
Available from the author.
The title is an abbreviation of the saying 'audiatur et altera pars' (Latin: also the other party being heard): this indicates that the four parts in this work are treated equally.
The composition starts with the seven-measure development of a chromatised major second (A). A free repetition follows with closure (8-19). In measure 20 an imitative part (B) is started: the given (a chromatised quart), the contrary-wise movement thereof; both are varied repetitively in the other two voices, followed by a small development and conclusion (29-35). These two movements are concluded with an accord sequence (C) derived from the given and the counter movement of B.
Next follows a shortened and varied repetition of the previous three parts A.B.C.
In measure 97 a new given is presented (D) which is then varied and after a interlude (131-135) a second time is varied.
With a repetition of C as a short closure, the work ends.
For b-flat clarinet, violoncello, double bass, piano. Duration: 08'30". Completed: 21/10/2010.
At the request of the ensemble Simurg.
One movement.
First performance: Maastricht, 04/11/2011 by the Simurg ensemble (Wolfgang Güdden, clarinet; Stijn Saveniers, violoncello; Markus Kroll, double bass; Robert Weirauch, piano).
Available from the author.
Recording CD: Simurg Ensemble absences, ©2011 Simurg Ensemble.
Volucris was written in the months of February-May 2011 at the request of Robert Weirauch for the Simurg ensemble.
The title -Volucris (Lat.): Every winged animal- is a variant of the name of this ensemble in which birds play an important role: 'simurg' is a mythical animal, half bird, half mammal.
The work consists of two movements that merge into each other without a break. After a short introduction follows a given that is repeated immediately (varied) and developed after a transition. Subsequently, after a fading-out, a short cadence for clarinet solo forms the connection with the second movement.
This second movement consists of a given that is repeated four times (varied). It is easy to hear that in the first two parts the main voice is distributed over the four instruments according to a fixed pattern. In the following two variations, this main voice is omitted and the remaining musical layers become independent and developed. A short closure confirms the end of the work.
vDuration: 14'30". Completed: (2010 and 2011) and 26 01 2012.
Available from the author.
The first movement consists of the sequence (six times) of always the same melodic rhythmic sequence (theme) that is placed in ever-changing forms. After each sequence, there are interludes (also six) that have the task making every the theme new in every repetition.
The second movement is a structure with two main ideas that are presented, developped and repeated.
For 2 flutes. Duration: 06'30". Completed: 15/09/2011.
Available from the author.
Twint I and II (opus 86) originated from an earlier version of a work for two oboes ('Three pieces for two oboes') that proved to be too difficult for this instrument and was therefore rejected as work for two oboes.
Movement I of this version was originally movement II of the Three Pieces. It is a simple round: a phrase (A) is followed by a contrasting phrase (B). Next is A where the main voice is augmented by an absolute value. Augmentations are not a rarity in the composition, but they are often proportional enlargements, meaning that every value, for example, becomes twice as long. Here, however, the value is fixed, for example, each duration is augmented by an eighth regardless of its output length (absolute augmentation). Hereafter follows A with the main voice in another absolute augmentation. Then again B with the main voice in yet another absolute augmentation and then again A (indeed with the main voice and another absolute augmentation).
Movement II is the original movement I of the Three Pieces. It is entirely based on a melodic three-tone motif (two minor seconds) that occurs in two forms, one time indeed three-tone within the voice, then more melodically as a combination of two three-tone combinations.
For clarinet en bassoon. Duration: 04'. Completed: 15/09/2011.
Available from the author.
Twint I (opus 85) and Twint II originated from an earlier version of a work for two oboes ('Three pieces for two oboes') that proved to be too difficult for this instrument and was therefore rejected as a work for two oboes.
Movement II of Twint II is the original part III of the three Pieces.
Movement I for this work is a theme of 13 bars followed by two free variations.
Movement II is written in the technique of a 'classic' twelve-interval serie. It consists of a set of melodic movements in opposite direction and backwards with distinctive rhythms, in a clear three-part structure (ABC).
For oboe-solo. Duration: 06'. Completed: 18/04/2012.
At the request of Marc Schäferdiek
Interim version for oboe and cello (opus 87b): Completed: 16/05/2012
Available from the author.
Marc Schäferdiek, oboe player, professor oboe at the Maastricht Music Academy asked me to write a work for oboe, it became a duo for two oboes. I apparently went a bit too energetically because my first versions turned out to be unplayable: too extreme in the registers, too many notes in one breath, too fast passages. These versions can be found in the on 86 and 85.
Experienced I wrote a completely new work.
The title refers to the Latin expression 'ad interim' which means 'in the meantime' or 'a temporary observation'. This is how this work came about: in the meantime from the processing of the earlier version to a completely different, independent composition.
The first movement is a simple three-part form, after the first part (11 measures) a developing middle part follows, after which the first part is repeated in a varied way.
The second movement is a given followed by a series of six free (I call it) variations, concluded by seven measures of coda.
The term variations is factually incorrect: they are combinations of variations and developments that are combined with each other. For example, the one measure of the theme is varied and then developed, after which the next measure of the theme is taken back, that is either immediately developed or varied and then developed (or not developed).
For violin and violoncello. Duration: 07'30". Completed: 24/05/2012.
One movement: quarter=72
Available from the author.
'Tussentijd' was written in late February early March 2012 and got its final form in May.
It is a theme with five variations. After 13 measures introduction, the theme is in three parts (A-B-A with transpositions). The variations in which the material background remains the same follow this structure. Between the second and the third variation there is a short (6 measures) interlude. Then variation 3, 4 and 5 follow and the works ends with an closure of 16 measures.
poem: Menno Wigman. For voice, violin and violoncello. Duration: 07'. Completed: 25/07/2012.
One movement: quarter=92
Commissoned by Poetry Nights Maastricht 2012.
First performance: Maastricht, 29/10/2012, Lajla Sarian (sopr.), Nina Prezwozniak (vl), Paul Stavridis (vcl). In presence of the poet.
Available from the author.
'Waar ik viel' is a poem from the collection 'Mijn naam is legioen' (2012). It was written for the funeral of an unknown man who was found in the water diagonally opposite Amstel Central Railway Station on 25 November 2010. His badly battered body was most likely hit by a tour boat.
The music follows the structure of the poem. The voice is handled in a way that focuses on the intelligibility of the text. Violin and cello are mainly used to support the expression of the voice, with a few independent parts, especially in the short interludes.
Taken from the Lustpspiel: Scherz, Satire, Ironie und tiefer Bedeutung (1827) by Christian Dietrich Grabbe (1801-1836)
Duration: 14'. Completed 16/07/2012, instrumentation 04/04/2016.
Piano reduction (opus 90b).
This is a composition of the first scene of the first act of the 'play'. The texts of Grabbe are very sharp in their tone. The writer shows a little uplifting picture of the society of his time.
In the opening scene we see the - in his profession bitter- village schoolmaster. A rich farmer (Tobies) wants to teach him his son (Gottliebchen) because the mother of Tobias thinks that her son has the possibility to develop into a brilliant scholar.
De Schulmeister succumbs to the promised reward and takes Gottliebchen –against all knowledge- as his pupil. Tobies is happy and leaves. The Schulmeister slaps Gotliebchen as his first lesson.
"I'll tell you what you ... have to do to be seen as a genius: you have to keep silent - then they think, damn, he has a lot to keep silent, because he does not say a word - or you have to say crazy things, then they think, damn it, it must have said something profound, because we, who normally understand everything, do not understand him ... .. Say, stupid bovine, what do you want to do? " Gottliebchen; "I will keep my mouth shut".
For organ. Duration: 11'. Composed 2012/13, Completed 23/01/2013.
One movement.
First performance: Noorbeek, 04/11/2011, Peter Verhoogt on the organ of the St Brigida Church.
Publisher: Stichting Orgelconcerten Noorbeek
Passus was written in the fall of 2012. The work was in fact completed in early December. There are not many of my works that I have spent as much aftercare as on this piece. Critical listening, changing a detail and listening critically again: you learn from mistakes, also from the small ones and especially from the good ones! Eventually the final form was found in early February 2013.
Passus means step, length and that relates to the length, the salutation and especially a vertical tone organization that I based on the famous choral 'Jesu meine Freude'.
The work is in in movement and consists of different parts. After a brief introduction, six variations follow which differ greatly from one another. The chorale melody, which itself is partially and rudimentarily present in these variations, only sounds completely in the pedal once (variation six).
The choral may be difficult to recognize. Ndxt - five minutes later - an imitative part (fugue) follows on the notes of the beginning of the choral. The movement escapes the 'Einheit des Affectes' (unity of mood), which for many fugues has remained so characteristic for centuries. This allthemore, after a minute and a half this fugue is interrupted by a short toccata-like part ('half a minute'). Next, the imitating thread is taken up again and closes the fugue (after two and a half minutes) after which again a toccata follows and a with a short coda the work ends.
For euphonium and piano. Duration: 08'30". Composed 2012/13: Completed 16/01/2013.
At the request by Hans Nickel
Version for euphonium and string quartet (opus 92b): Completed: 31/01/2013
Available from the author.
All four Movements are based on the occurrence of an ostinate (an unchanging given). The ostinate here is a duration, or better a certain length. This length can be represented by an opening note (every time the length is fulfilled there is an event) or by a melodic fragment being 'filled in', anyway: the length is decisive for the composition. Starting from the first count, after a few measures the ostnate will end on a first one (and can start again). The intermediary shifts of a certain length and the combinations of different lengths result in interesting rhythmic gestures.
Movement I is based on the length of nine eighth notes. This ostinate is - with some exceptions - in the bass side of the piano. First the euphonium has the main voice, the piano the ostinate. Then the piano has the main voice (and the ostinate) the euphonium performs a strongly rhythmic figure. Then the euphonium resumes the main voice and the piano takes over the strongly rhythmic figure of the euphonium (the ostinate stays in the piano), then the piano becomes the main voice, the euphonium supports the ostinate in the piano. A four-part structure is created.
Movement II is based on the combination of two lengths; one of seven eighths and one of eight eighths. The euphonium represents the length of seven. Then the combinations of seven and nine follow. These two layers shift so relative to each other and only in the final measure both meet again on the first beat. Here the part closes.
Movement III has a length of seven eighths; first in the tuba, then in the piano and then again in the tuba.
Movement IV again combines nine, seven and four to the following scheme:
| Tuba | 7 | 4 | 7 | 9 | 7/4 | 4 | 9 | free closure |
| Right side piano | 9 | 9 | 4 | 7 | 9 | 7 | 4/7 | free closure |
| Left side piano | 4 | 7 | 9 | 4 | vrij | 9 | vrij | free closure |
Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, horn, percussion (1), strings. Duration: 17'. Completed: July 2013.
Version for violoncello and piano (opus 93b).
Available from the author.
The first movement is a theme with two variations, here the cello is central and the orchestra is a subordinate layer.
The second movement is a scherzo. It consists of a succession of five movements that are repeated, although there is always a gesticulation less. This automatically leads to a reduction towards a closure. After a contrasting middle section, a varied repetition of the scherzo follows.
The third movement combines fugue technique with variations. The movement starts as a fugue exhibition; there are two theme entries. Then there are four variations on the theme of the fugue. There follows a fantasy (free development) on the theme, then there is a long cadence for cello solo and next there is a re-exposition of the fugue with different entries of the theme.
For 2 violins, viola, violoncello. Duration: 12'. Completed: 22/10/2013.
One movement. quarter=66, quarter=96, quarter=66, quarter=96.
Available from the author.
The quartet starts with a slow introduction. Then follows a faster part with two main ideas.
The subsequent processing is strongly contrapuntal in design, combined with fragments from the melody 'Bist du bei mir' by Johann Sebastian Bach (BWV 508).
After a repetition of the slow introduction a repetition of the faster part with the two main ideas follows. A short coda closes the work.
For 2 violins, viola, violoncello. Duration: 15'. Completed: 11/04/2014.
Available from the author.
The first movement is a sonata as a structure, albeit that after the re-exposition a second development follows so that the structure becomes an A-B-A-C.
In the second movement, an A part is varied repeatedly followed by two mutually related movements (B and C).
The third movement has a scherzando character. The first part is in three parts as ABA, the second A being a shortened repetition. After a contrasting part, this entire ABA is repeated, although the shortening here - over the entire repetition - is even more rigorous.
For 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, percussion(1), strings. Duration: 19'. Completed: 09/02/2015.
Available from the author.
The symphony follows the structure scheme of symphonies from the second half of the 18th century and is also related to this period in gestic.
The Allegro has a sonata form. The Largo is whimsical in its capriciousness. The Scherzando is a scherzo with a trio and varied repetition. The Presto is again a sonata as a structure.
For mixed choir (with piano ad libitum). Duration: 10'. Completed: 20/05/2015.
Available from the author.
The texts were taken from the ritual of Roman Catholic cult and more specifically from the ritual of the funeral.
The 'Si iniquitatis' is the antiphon of the 'De Profundus' (psalm 130), the 'Averte faciem tuam is' a part of psalm 50 and the 'Non intres in judicium' a part of psalm 142.
| I | |
| Antifoon | |
| Si iniquitates observaveris, Domine: | |
| Domine, qui sustinebit? | |
| Psalm | |
| De profundis clamavi ad te, Domine; | |
| Domine exaudi vocem meam. | |
| Fiant aures tuae intendentes | |
| in vocem deprecationis meae. | |
| Si iniquitates observaveris, Domine: | |
| Domine, qui sustinebit? | |
| Quia apud te propitiatio est; | |
| et propter legem tuam sustinui te, Domine. | |
| Sustinuit anima mea in verbo eius; | |
| speravit anima mea in Domino. | |
| Quia apud Dominum misericordia, | |
| et copiosa apud eum redemptio. | |
| Requiem aeterna dona eis, Domine | |
| et lux perpetua luceiat eis. | |
| Si iniquitates observaveris, Domine: | |
| Domine, qui sustinebit? | |
| II | |
| Averte faciem tuam a peccatis meis: | |
| et omnes iniquitates meas dele. | |
| Cor mundum crea in me Deus: | |
| et spiritum rectum innova in visceribus meis. | |
| Ne projicias me a facie tua: et spiritum sanctum | |
| tuum ne auferas a me. | |
| III | |
| Non intres in judicium | |
| cum servo tuo, Domine | |
| quia milles apud te | |
| justificatibur homo | |
| nisi per te omnium peccatorum | |
| ei tribuatur remissio. |
For 2 violins, viola, violoncello, piano. Duration: 08'. Completed: 24/09/2015.
Available from the author.
The first, slow movement consists of three distinctly differentiated parts which become shorter and shorter, 60 seconds then 40 seconds (two thirds shorter than the previous one) and then 20 seconds (half shorter). This creates an impression of acceleration to the second movement and indeed this first movement is seen as a prelude to the second.
This second movement has a growth from simple to complex and back to simple. It consists of four given that enter into different combinations at the same time. These parts are interrupted by interludes.
For violin, viola and piano. Duration: 13'. Completed: 06/01/2016.
Available from the author.
The first movement is set up as an instrumental music-dramatic fragment. In order to reinforce the performance of the recitative (to speak pitch) and the arioso (speaking chants), among other things, the violin (and limited the viola) has a text written down. This is taken from Goethe's Faust part 1: in Studierzimmer: Faust und Mephistopheles. The intention is, by speaking silently during these performances, to reinforce the expression of the performing musician.
The second movement is nine variations on the first 15 bars of my song 'Fiedervieh' For voice and piano (2012) on text by Petra Maria Amrhein.
The variations are arranged in three groups. The first of each group consists of a variation on the main voice. The second of each group is the main voice as ostinate: a constant fragment in all three groups with free voices: in variation II this ostinate is there once, in variation V twice and in VIII three times. The third of each group is a development on the given melody.
In an overview:
Theme
For flute, oboe, clarinet, horn and bassoon. Duration: 10'. Completed: 08/06/2016.
One movement: Presto, quarter=160
Available from the author.
The structure of the work is based on a much-applied structure principle from the eighteenth century: that of the sonata as a structure. The idea of this structure is: there are two main ideas which are exhibited one after the other, after a development of them both are repeated.
After a first main idea, a transition to a deceitful entrance of the second follows, then indeed follows the second main idea followed by a final group in the main tone thereof. Now, the first main idea and then the second main idea are developed. After a short free part (cadence) in the repeating part the first and the second main idea are played simultaneously (!). After the deceitful entrance the closuring group follows, now in the main tone of the first main idea.
For flute, oboe, clarinet, bassoon, horn, violin, viola, violoncello, double bass. Duration: 10'. Completed: 31/10/2016.
One movement, quarter=90
Available from the author.
The work is based on the Song 'December' for voice and piano (2016) on a poem by Petra Maria Amrhein.
After the song is quoted in its entirety (of course the voice is an instrument), a variation about the first seven bars from the song, the first fragment, is followed immediately by a development about that same part. The song is divided into five fragments. The variation/development principle is also applied to the other four fragments. After these five parts follows a Coda: a shortened version of the song.
Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, percussion (1), strings. Duration: 15'30". Completed 15/02/2017.
Version for two pianos (opus 102b)
Available from the author.
The first movement consists of three parts. The first part is without piano. In the middle part the piano is the main voice. The third part is a repetition of the first but now with a florishing piano voice.
The second movement consists of two main ideas that are separated by a transition (1) a entry of what appears but is not a second main idea and then a transition (2) to the actual second main idea. Subsequently, this structure is also developed in the sequence of the main idea, a transition 1, a false entry, a main idea two. Next transition 2 is developed, after which this second movement of the concert closes with a short coda.
For bass clarinet, bariton saxophone and three tomtoms. Duration: 03'30". Completed: 01/04/2017.
One movement, quarter=90
As declamatory with a tekst of Pé Hawinkels: Droom (opus 103b). For speaking voice, bass clarinet, bariton saxophone and three tomtoms .
Available from the author.
The original set-up is a declamatory on the poem 'Droom' by Pé Hawinkels with two melody instruments and percussion as part of a project of the Stichting Limburgse Componisten on texts by Pé Hawinkels.
The short work has a symmetrical structure. It starts with a half-minute in an accelerating motion in which it is difficult to hear a beat, followed by a dance-like movement (good audible beat) for one minute; here the voice speaks. After a clearly audible pause (text: 'geluidloos') a diivation of this part follows, It is a varied repetition, the rhythm of the two melody instruments is compressed in the bass clarinet (albeit backwards), the tom- toms also repeat their rhythm backwards, the saxophone now has a free voice. The speaking voice ends the text and a postlude follows in that the first minute is played backwards, resulting in a strong slowing movement.
Movements backwards (the so-called cancer Movement) can hardly be heard literally; what they do is to create a coherence that is audible but difficult to interpret. You wonder: I hear a connection, but what is it?
For piano. Duration: 05'. Composed 25/04/2017 - 05/05/2017, Completed: 08/05/2017.
Available from the author.
These short piano pieces were written after an intensive study in the spring of 2017 of the Sechs kleine Klavierstücke Op 19 (1913) by Arnold Schönberg.
The analysis of these works on material organization of pitch has not produced satisfactory results so far (2017!). I now believe that I have found a possibility and have written some very short pieces according to that technical idea.
Of course, there is different music than that of the studied music, because an idea about how to deal with tones is not equal to the way in which compositional ideas come to life in sound.
Voor b-flat clarinet, 2 violin, viola, violoncello. Duration: 08'30". Completed: 24/05/2017.
Available from the author.
The first movement has an ABA structure. The A part has a scherzando character and starts with a strong rhythm and continues with a more melodic part. The B-part (trio) has the opposite gesticulation; it starts out melodically and becomes more and more rhythmic. After this, the A part is repeated in various ways.
The variation idea of the second movement consists of a four-layer basis with a different durations. These are repeated continuously, whereby the length of the duration can be determined by one but also by several notes. The layers are combined pedal notes and free voices.
Layer 1 is decreasing over time: the values become smaller, albeit separated by pauses. This also applies to layer 3 (in this sense, this layer is a canon with layer 1). Layer 4 does the opposite: from one note onwards, more and more notes are added, separated by pauses. Layer 2 is a shifting one note-figure (which is sometimes divided) but remains unchanged in the total duration.
The overview is as follows:
(the numbers are the different layers (equal numbers means the instruments work together on the same layer), p=pedal note, free=free voice, silent=the voice pauses:)
| Theme | Var. I | Var. II | Var. III | Var. IV | Var. V | Var. VI | |
|---|---|---|---|---|---|---|---|
| Clarinet | 1 | 2 | free | 4 | 2 | 4 | free |
| Violin I | 4 | 4 | 1 | free | p | 3 | 3 |
| Viool II | 4 | p | silent | 2 | 1 | 3 | 3 |
| Altviool | 4 | 1 | 4 | 3 | free | 2 | 4 |
| Violoncello | 4 | free | 3 | silent | 3 | 1 | 4 |
Probably this scheme is too complicated to be heard; what arises is a work in which differentiated connections during different listening experiences are heard at different moments and in this way always creates new listening experiences.
Music Drama (A Political Satire). Duration: 80'. July 2017-March 2018.
Libretto: Christoph Amrhein.
I have known the director, actor Christoph Amrhein for over thirty years. In 2017 he sent me his Cajaphas, a one-act play that made a big impression on me. That gave me an idea.
I asked him to write me a comic libretto (a 'buffa') and he agreed to my delight. It became Grossmutter gestorben (Grandmother dead), where the comic became rather grotesque: during the scenes I asked myself regularly: is this to laugh or to cry?
The story is based on a historical event. The provocation of what the Second World War has become through a fictitious attack by so-called Polish resistance fighters (in reality German soldiers) on a German radio station in Gleiwitz, a town near to the Polish border. The key word, the command on September 30, 1939 to perform this action was "Grossmutter gestorben".
This "provocation" was used by the leadership of Nazi Germany to invade Poland: Hitler via the radio: "Seit 5.45 Uhr wird zurückgeschossen".
In the libretto, German soldiers disguised as musicians arrive at a hotel near the broadcast station in Gleiwitz. They are going to give a concert there - so-called - life.
The Ober-Sturmbann-Führer (Chef) is very focused on the action to be performed.
The men (especially Zick / Zack and Hans) let their condescending feelings about the Polish population run free, which is all the more distressing as the hotel owner (Magdalena) is clearly of Polish descent. Only Adam is aloof from that. Between him and the Magdalene grows something tender, almost immediately burdened by the confession of Magdalene, only for Adam, that she is a Jew who fled from Danzig.
The piece ends with a battle between the men that ends tragically for Adam, a contemplative epilogue of Magdalena finishes the opera.
The work consists of instrumental parts, declamatory’s and arias.
During the instrumental parts there is always an act, something happens on the stage where there is almost no speaking.
The declamatory is in the place of what used to be a recitative. There is spoken while music sounds.
In this opera two types of declamatory are used::
The arias (pure sung parts) are either solo or for more than one voice. In the latter case (duets, sets, quartets, quintets) the different voices often sing in succession.
Of course, combinations of these three forms also occur in the opera. In the declamatory there are also sung parts, sometimes the speaking voice is tied to a given rhythm, etc.).
The structure of the opera consists of a Vorspiel, 15 scenes and a Final (with Nachspiel). Each of these parts has a central tone linked according to the scheme:
| Vorspiel | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | Final/ | Nachspiel |
| C | D-flat | E-flat | E | F | G | A | B-flat | C | D | Es | F | F-sharp | A-flat | A | B | C |
It is easy to see that the relation tones move (via half and whole tone from C to C (8) and then via whole and half tones to C.
Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, trombone, percussion (1: Marimba, Cymbals (sospesi), Woodblock, Snare Drum, Bass Drum), strings. Duration: 16'. Completed: 18/04/2018.
Available from the author.
The concert was written in the period March-May 2018 and consists of two parts.
The first movement takes four minutes, is slow and is subdivided into four parts that can be followed well by the movement of the solo violin by the registers. The first part moves in the high register. In the second part the solo violin descends from high to low. The third part moves in the low register and the fourth moves from low to high.
The second movement takes twelve minutes and is more complex.
It opens by short fragments in the orchestra and three short solo fragments for violin.
After this, in the orchestra there is a given 1 with a strong rhythmic character to which the music comes to rest in the next sentence.
The solo violin then plays a given 2 which is then repeated in a variation.
After an accelerating part follows two variations of given 1: in the first variation the orchestra slows and the violin accelerates and in the second variation the violin slows and the orchestra accelerates.
Now follows a longer part that is a development of given 2; this is imitated whereby in the imitation (repetition) the original values of the data are prolonged with a constant value. That principle is also applied to the counter voices:
The following is a variation of 1 with a new melody in the violin and a development of the part for the use of the solo violin with given 2.
Now follows a new development of given 2: again there are imitations with constant enlargements, but now the layering is three voiced.
After two variations over given 1, a reduction and then a closing group follows.
Schematic:
| Introduction | ||||
| A given 1: strong rhythmic movement in the orchestra | ||||
| B developed from A: calming | ||||
| C given 2 a melodic movement in the solo violin | ||||
| C ' a variation on C | ||||
| D developed from B: but now moving more and more | ||||
| A1 violin accelerates, orchestra slows | ||||
| A2 violin slows, orchestra accelerates | ||||
| E development from C: | ||||
| Dux (given 2) | Comes 1 (contrary voice 1) | Comes 2 (contrary voice 2) | ||
| Dux (given 2) | Comes 1 (contrary voice 1) | Comes 2 (contrary voice 2) | ||
| (+ sixteenth) | (+ quarter) | (+ sixteenth) | ||
| A3 a variation on given 1 |
| D1 a variation on part D |
| F development from C: | ||||
| Dux | Comes 1 | Comes 2 | ||
| (+ quarter) | (+ sixteenth) | - | ||
| Dux | Comes 1 | Comes 2 | ||
| - | (+ sixteenth) | (+ quarter) | ||
| Dux | Comes 1 | Comes 2 | ||
| (+ sixteenth) | - | (+ sixteenth) | ||
| A4 a variation on given 1 |
| A5 a variation on given 1 |
| B1 a variation about the resting part |
| Concluding group |
violin, viola, violoncello and piano. Duration: 12'30". Completed: 11/09/2018.
Available from the author.
The first movement is entirely based on a combination of development and canon technique. In the piano a strong rhythmic given sounds, while the strings as a second layer find themselves together in a sound field; immediately following, the roles are reversed: the piano plays a sound field and the three strings the rhythmic given.
Now follows a short, free canon based on the rhythmic given in the violin and the left hand of the piano. The other instruments form a secondary layer.
Now, in all instruments, parts from the sound field are being developed in an increasing acceleration of events.
There follows a three-voiced canon based on the previous two voiced one. An imitation is shifted one-eighth and the other in the contrary-wise movement (intervals that rise are decreasing and vice versa).
The next part is a free movement backwards from the development from the sound field, which is now delaying.
There follows a four-part canon based on the previous three-voice, the added voice is not only shifted one eighth but also in the contrary-wise movement. A short coda closes this part.
The second movement is entirely based on a combination of variation and canon technique. The following overview shows the placement and development of the theme through the different instruments. The remaining instruments then play a secondary layer or keep silent.
| A | The theme slightly distorted in the left hand of the piano |
| A1 | A variation about this theme in the cello |
| C (from A) | A two-part canon on the theme between vla and vl |
| A2 | A second variation on this theme in the vl |
| A3 | A third variation on this theme in the vla |
| C1 | A two-part canon on the theme between vc and the right hand of the piano |
| A4 | A fourth variation on this theme in the pf |
| C2 | A three-voiced canon on the theme between vl and vla and vlc |
| A coda closes this part. |
Duration: 11'. Completed: 14/10/2018.
available by the author.
These piano pieces were written in a short time intended to be piano music that fully meets my requirements and is of a mediocre degree of difficulty.
The undeniable intention was to give the not yet advanced pianist a number of works in contemporary style.
Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, trumpet, trombone, percussion (1: Marimba, Cymbals (sospesi), Woodblock, Snare Drum, Bass Drum), strings. Duration: 12'. Completed: 6/12/2018.
The concert was written in the period October / December 2018 and consists of three movement.
The first movement takes 2.5 minutes, is slow (quarter = 76) and divided into two sub-parts. The first sub-part consists of eight entrances of the solo clarinet separated from each other by shorter and shorter rests (eight quarters, then seven, then six etc to one). The second part has the same structure, the difference is that the rest becoming longer and longer: (from one to eight quarter rests). A short cadence closes this movement.
The second movement is fast (quarter = 176) takes 4.5 minutes and is a scherzando with an intermediate and the repetition of the scherzando. The first part consists of four variations over a given, the middle part - in a slightly slower tempo - is three-parted (B-C-Variation of B), followed by a varied repetition of the first five variations. A short coda closes the part.
Schematic:
A, A1, A2, (short interlude for clarinet solo) A3, A4, (interlude), A5 (interlude)
B, C, B1
Var A, Var A1, Var A2 (clarinet solo) Var A3, Var A4, (interlude), Var A5 (interlude)
The third movement is a series of variations on a song for voice and piano: Jahreswende on a poem by P.M. Amrhein.
First the song sounds, with the singing voice being played by the clarinet. This song consists of four parts (ABCD). Successively, the individual parts are varied and developed immediately afterwards.
Schematic:
Song (ABCD)
Variation and development on A
Variation and development on B
Variation and development on C
Variation and development on D
clarinet (b-flat) and bass clarinet (b-flat). Duration: 10'. Completed: 23/01/2019.
First performance: Vaals, 16/11/2019, Pauline Dieteren and Beppie Pacquay.
In the autumn of 2018 Paulien ten Koppel asked me a piece for clarinet and bass clarinet . As I know her as an exquisite clarinet player and a dedicated musician I agreed with pleasure.
Tweern was written between 7 and 23 January 2019. It consists of two movements that follow each other without a break.
The first movement is slow and consists of two parts. The first part is a plain melody composed in a succession of groups of three tones that are distributed over both instruments because of a large ambitus given. The second part is a varied repetition in which the tones one, two and three slide over each other in different ways. After a short transition, part two follows.
This part two is divided into three groups.
The first group consists of three section. Section one starts with a sound field from which individual notes jump forward. After one measure rest, section two follows: a combination between this sound field and an free imitation on the rhythm of the also here pronounced notes. After a short break of two measures (long notes in the bass clarinet), section three follows: a canon on the rhythm of the imitation in the sense that the rhythm of the two instruments from the first two phrases is 'summed up' and placed in one instrument: first in the the clarinet and then –imitating- in the bass clarinet.
As a transition to the second group, there is a short free cadence in the bass clarinet. The second group consists of five sections based on two melodies (A and B). A starts in the clarinet with an accompaniment in the bass clarinet (based on the rhythm of the canon). Then B follows in the bass clarinet with an accompaniment in the clarinet based on the 'free imitative part'. This is followed by a variation of A and B simultaneously. A strongly varied B in the clarinet is accompanied by figures from the sound field in the bass clarinet and finally follows a varied A in the bass clarinet accompanied by a counterpart in the clarinet.
As a transition to group three, there is a free cadence in the clarinet. Group three again consists of three sections. Section one and two are a development on a gesture that in the 'imitative part' of groep one was a rather unimportant accompanying figure. The first development is in the clarinet (the bass clarinet accompanies) than in the bass clarinet (the clarinet accompanies). After a ritardando, the tempo in section three is repeated with a combination of the sound field and the developments from the immediately preceding part, it is as such a varied repetition of the sound field from the beginning. After a measure pause, the 'imitative part' is repeated and at the same time decreased by more and more rests which interupt the flow of the Movement.
A short coda closes the work.
For 2 violins, viola and violoncello. Duration: 14'30". Completed: 22/02/2019.
Started in December 2018, the work was interrupted after part I by the composition of Tweern ( op 110). Parts III and II were completed in February 2019.
Part I is a fugue (structure in which imitative parts are alternated with non-imitative parts: the interludes) where the theme consists of groups of a number of notes and their articulation. Height and duration are therefore completely free. Each group is interrupted by a rest of the same length.
(The theme is: two notes legato, pause, three notes staccato, pause, three notes legato, short rest and two legato, one note staccato).
Intended is that the (four) imitation parts become shorter and shorter and the (four) intermediate games become longer and longer.
Part II is a scherzo, consisting of a first A phrase that is followed by a B phrase that is played twice. A highly varied repetition of A and B follows (B varied only once). After an intermediate part (again consisting of two phases) the scherzo is repeated variedly.
A BB A’B’
C D
A” B’’ A’’’’ B’’’’
The variation after the intermediate part mainly consists of the change of place of the voices. For example, the music of violin 1 of A B becomes that of the violoncello of A’B, ’violin two becomes viola, viola becomes violin 2 and violoncello becomes violin 1.
Schematic: violin 1 = 1, violin 2 = 2 viola = 3 and cello = 4
| 1 | becomes | 4 |
| 2 | 3 | |
| 3 | 2 | |
| 4 | 1 |
In A’’’B’’’’, the switch is:
| 1 | becomes | 3 |
| 2 | remains | 2 |
| 3 | becomes | 4 |
| 4 | 1 |
Part III is based on one of the piano pieces (no. 5) from op 109 (XII Kinderstücke für Klavier). This short composition has two voices, albeit that one voice consists mainly of seconds sounding together harmonies and the other consists of tritoni.
In part III of the quartet the piano piece is first quoted, then ten variations follow. The variation technique is a continuation of what was already applied in part II.
The four layers (the two pairs of two voices) return in varying numbers in the variations. The non-cited layers form a free voice against.
The order is theme, var 1: one free voice against (quoted three layers), var 2 two free voices against (quoted two layers) var 3 three free voices (quoted one layer). This principle is repeated three times then the pieces closes with variation 10 that has a change of all four voices.
Orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 trumpets, 4 horns, 2 trombones, bass tuba, percussion (1: Marimba, Cymbals (sospesi), Snare Drum, Bass Drum, Timpani(2)), strings. Duration: 14'. Completed: 22/05/2019.
The sketches of this work date from 20/21 March (part 1), 8/9/10 April (part 2), 1 April (part III), 25 April (part IV) and 6/7 May (part V). Then two weeks were needed to elaborate these designs on the composition as it is now. The parts each last a minimum of two and a maximum of three minutes.
I
The first part consists of two gestures.
The first is a group of rapid descending movements. Each group is shortened so that finally a chord remains (from nine movements to two).
The second group, which follows, is a rhythm in chords starting from the final chord of the preceding gesture.
Next is movement one again, although the groups of fast notes rise and are increased from short to long (from two movements to nine).
Then follows a short three-voice cannon over the rhythm in chord form of gesture two.
Then gesture one is resumed in canon: one voice rises (from nine movements to two) and the imitative voice falls (also from nine movements to two).
Finally movement two seems to come back; but it ends up in a retardation with which this part closes.
II
Part two is a combination of a theme with variations and an ABA’ structure.
The theme is built on a continuous combination of a two-tone element, alternately sounding in the strings and woodwinds (with some brass).
Variation one continues in the same gesture, although the brass participates more strongly in the movement.
In variation two, the groups of two are placed further apart. At the same time, a melodic movement is played in the high register (woodwinds) and then in the low register (violoncello / contrabass and trombone).
Now an intermediate section follows at a slightly slower tempo, easily recognizable by the dominant movement in three in a secondary layer. The melodic main voice moves principally in a three-part rhythm in the four-part measure (woodwinds alternating with high strings).
The fast tempo is resumed with variation four, which in turn is a variation of variation two: now with a melodic movement, first in the low register (violoncello) and then high register (oboe / clarinet).
Variation five is a variation of variation two, the voices change places: low becomes high and vice versa.
Then variation six follows as a variant of the theme itself with also a displacement in register of the participating votes.
A short coda (delay of the two-part data) closes this part.
III
Part three is based on a four-part coral-like setting (movement in soprano, alto, tenor and bass register). This first sounds in the brass and is then repeated in the strings with modest contrary voices in the woodwind.
Then the soprano and alto voice are repeated in the low register, with contrary voices in a wind quintet (flute, oboe, clarinet, bassoon and a horn).
Tenor and bass voice then are placed in the high register with contrary voices in the lower register (trombone / horn / tuba).
A start of the coral (the first five measures in retardation) closes this part.
IV
Part four is based on two movements.
The first is rhythmic and takes three measures, followed by the same movement from backwards accompanied by a "disturbing" gesture in the trombone. Now a rhythmic development of the first given follows: it becomes shorter and shorter and at the same time a melodic movement becomes more and more important, based on the "disturbing" gesture of the trombone.
The second element has a melodic structure and also consists of three measures. It is developed by making the melodic movements longer and longer.
Now the first movement returns, although with a development that starts at the final point of the first part. The "disruptive" gesture leads, along with an ever-increasing occurrence of the given, to this given itself.
The second element is now repeated, although its second part sounds first and its first part sounds second.
V
The starting point of part five is the rhythm of a children's song. The different rhythms of the phrases are imitated in four parts (voice 1,2,3,4).
The part starts with a short introduction. Then the rhythm of voices 3 and 4 (imitating) follows in the high strings with a sound field in the woodwind.
Then voices 1 and 2 follow in the low strings (imitating) with another sound field in the woodwind.
Finally the voices 1,2,3,4 in the brass (trumpet, horn, trombone and tuba) follow in their original register and with four-part imitation of the rhythm of the phrases of the children's song
A short reference to the introduction closes the part.
for flute, viola and harp. Duration: 14'. Completed: 24/07/2019.
This work was written in the months of June /July 2019
I
The first movement is a passacaglia: a composition in which a given is (almost) invariably repeated (ensures coherence) and the other voices contrast with it (provides variation).
The theme is played here by the harp. The flute and viola have the opposing voices. This theme consists of a four-part chord sequence with a rhythm with a duration in quarters (3,4,3,3,2,1 ½, 2, 1 ½) and is repeated 12 times - with interruptions -.
The structure of this part is:
II
This second part has a simple three-part structure: a phrase is varied twice. The basic idea sounds as the middle part in the harp (A). This is preceded by a free variation in the flute (A1) and followed by a free variation in the viola (and in part) the flute (A2) A1 A A2 will of course be heard as A, A1, A 2
After a short connecting part, movement III follows:
III
This part (A) starts with a three-tone gesture that is divided between flute, viola and harp. It consists of two phrases.
The next part (B) has a new part in the harp that consists of a phrase in two halves (a / b). The viola has the rhythm of A and the flute is a secondary layer.
Then a development follows from the first part of the harp (a) in the flute, the two other instruments each have a secondary layer and then a development follows in the viola on the second part of the harp (b), the flute has the rhythm from A and the harp a secondary layer.
C is based on an augmentation in the rhythm of A; first each value (and every eighth and quarter rest) is extended by a sixteenth, then by a quarter.
This part consists of two phrases and is as follows::
| Phrase 1 | fl: free |
| vla: the rhythm of A augmented by a constant eighth | |
| hrp: the rhythm of A augmented by a constant quarter | |
| Phrase 2 | fl: the rhythm of A augmented with a constant eighth (backwards) |
| vla: the rhythm of A | |
| hrp: the rhythm of A augmented by a constant quarter (backwards) |
| Phrase 1 | fl: the rhythm of A augmented with a constant quarter |
| vla: free | |
| hrp: free | |
| Phrase 2 | fl: free |
| vla: the rhythm of A increased by a constant quarter | |
| hrp: free |
Part D is a variant of B, although the three sentences follow each other backwards. First the development on b in the harp, then the development a in the viola and finally a / b in the flute.
Then there is a variation of A with an added concluding sentence based on A.
Schematic:
| A | A |
| A' | |
| B | B |
| C (from B) | |
| D (from B) | |
| C | E (from A) |
| F (from A) | |
| D | G (from A) |
| H (from A) | |
| B' | D' (from B) |
| C' (from B) | |
| B' | |
| A | A |
| A' | |
| A'' |
Three pieces for four part mixed choir. Duration: 5'. Completed: 01/08/2019.
Text: Petra Maria Amrhein.
Choir (SATB).
This work consists of three parts that merge into one another without break. The movements were written on June 29, June 30 and August 1, 2019. The texts were taken from the poet's “Zwischenräume” (Bonn 1988) (private edition)
The first (Einer) is a coral-like choir song, the main voice is the soprano. The remaining voices sing secondary layers that support the structure of the poem.
In the second (Thule I) the main voice is divided between the soprano and the alto. The voices that are not performing the main voice sing secondary layers that support the structure of the poem.
In the third part (Thule II) the main voice is divided between the four voices; soprano, alto, tenor and bass. The voices that are not performing the main voice sing secondary layers that support the shape of the poem.
for violoncello and piano. Duration: 13'. Completed: 10/09/2019.
The work was written in the period 7 August to 10 September 2019.
Part I starts with a given (A) divided between the cello and the piano that is repeated in a varied way(A1 and A2).
A new item (B) follows that is developed in an accelerating movement that is followed by two variations on the first item (A3 and A4).
After a written retardation (D) there follows a new entry (E) in the cello that is subsequently varied in the piano(E1), then again in the cello (E2) and then again in the piano(E3).
After a varied repetition of the composed retardation (D moving backwards creating a acceleration), a fifth variation follows on the first given (A5)
After the repetition of the given B and the next following accelerated movement, follow a short closing part.
Part II starts with a given in the violoncello and the piano (A). After a short transition follows a variation of this given in the piano (A1), (the cello has a free voice) followed by a development about this given (B). After a short transition follows a variation of A (in cello and piano: A3), followed by a canon (C) about A in the piano (high register) and the cello/piano (low register).
B now follows in reverse movement and the work concludes with a short closing phrase.
Part III consists of two parts. The slow part is built on the rhythm of a phrase A and the rhythm of a phrase B, the melodic order is free. After A and B the rhythm of A follows again and a variation over the rhythm B. After a development over B and a variation then follows A.
This is concluded by a second fast part that comes to an end by a composed retardation.
Sextet for Clarinet (b-flat), Horn en String quartet. Duration: 14'. Completed: 29/10/2019.
(Lat.): galley with six oars.The work was written in the period September 25 and October 29, 2019. It consists of three parts (parts II and III merge into one another without a break). Every part has the same tempo, but a different character and the length of the parts decreases proportionally: 8’, 4’ and 2’ respectively.
Movement I consists of two parts (A and B).
A has a clear structure: the first part (a), with predominantly long notes, is played by strings, followed by a solo for clarinet (b), a part for strings and horn with striking rhythms in three (c) then follows a horn solo (d) and finally a part with horn and clarinet with striking divisions in quarters (e).
B starts with the horn based on the clarinet solo of A (theme 1). This is taken over by the violin 1, the viola plays a second voice (theme 2) based on horn solo from A.
Next, the combination of these two themes is repeated four times in different instruments and registers; the last two times combined with the movements in three and then in four from A.
The movement is closed by varied repetition of a.
Part II consists of four parts.
A is in turn a three-part structure of 9 times a 5/4, nine times a 4/4 and nine times a 3/4 measure.
B starts with a pressing movement that is further and further reduced until only a long note remains (in the violin in the high register).
Then C follows with the same measure classification as A but then from front to back: first nine times a 3/4, then nine times a 4/4 and then nine times a 5/4 measure (interrupted by intermediate measures).
D is a concluding section.
Part III now follows without interruption. It consists of five times the same rhythm (sometimes slightly varied) combined with the movements in three and four from part I.
For 2 violins, viola and violoncello. Duration: 14'. Completed: 09/12/2019.
The work was written from November 21 to December 9, 2019. It consists of three parts (parts II and III merge into one another, albeit with a rest, but without a break). The length of the parts is such that the first part lasts as long as parts two and three together; 7 'and 4' + 3 ‘respectively.
Part I consists of two parts and A and a B (from A)
A
The first part consists of three phrases and a concluding group:
A first idea consisting of a group of notes high, followed by a group of notes low, followed by a rapid movement and development thereof
B a transition that stands out because of the fast tone repetitions. After a short (two-voice) connection follows:
C a section with a fragmented melody with many beat changes
D a concluding group consisting of one sentence with varied repetition
B (from A)
Now a developing repeat of the beginning follows.
E (from A) here namely the fast movement is developed
F (from B) the tone rehearsals are combined with the fast movements from A and with melodic fragments
C’the C part is repeated, albeit that the instruments must have changed their parts, after a part based on the two-part section:
C" the C section with a different exchange of parties from C
G (from D) first a variant of the first sentence of D with the fast movement from A and the tone repetition of B
H (from D) this is a development on the previous sentence with a short concluding closing group
Part II consists of five phrases. The first phrase (A) consists of four times the repetition of a rhythm consisting of a duration of four units (counting), three units, two units and one unit. These are divided over the four instruments in such a way that each instrument has one duration value.
After this, A is repeated as A "(with striking rapid movements between the four groups). Then a phrase B follows: the original four-part voice becomes three-part (in violin 1, violin 2 and viola) and there is a free voice, here the violoncello.
This idea is continued in a sentence C with the first half of A in two voices (in violin 1 and viola) with two free voices: violoncello and violin 2.
Then there is the second half of A, but now in one voice (in the violin1) with three free voices: violoncello, violin 2 and viola.
After a short cadence (in the violin 1) follows a phrase D with four free voices (the A has completely disappeared).
A short conclusion confirms the end of this part.
Although with a rest, but without interruption, part III follows.
This part consists of eight phrases (preceded by a short introduction and with or without short breaks between the phrases themselves and closed with a final group).
The idea of this work is to repeat a given part (varied) and to combine it with a second layer and so on. The following diagram clarifies the sentence structure:
| (introduction) A | A | A' | A (final group) | ||||||
| B | B | B | B | ||||||
| C | C' | C" | C" (half phrase) | ||||||
| D | E | E (half phrase) |
The term half phrase means that the two phrases together have the length of the other phrases.
For soprano, clarinet and bass clarinet. Duration: 16'. Completed: 04/02/2020.
Poetry by John Slangen.
On request of Beppie Pacquai en Paulien ten Koppel
After a successful collaboration in rehearsal and performance of Tweern (clarinet and bass clarinet op 111) by Beppie Pacquay and Paulien Dieteren, Beppie wondered if I wanted to write a work for voice, clarinet and bass clarinet. She saw opportunities for a performance in the Vocallis festival that will have the theme "double talents" in 2020.
From time to time I write poetry, though I have never had the idea to go public with it, despite various incentives. Two ideas merged into the proposal. I wanted to write something for Beppie and Paulien and why not on my own text ("double talents”). I sent them a cycle of six short poems that I wrote in May 2016 (What Wind Does). Their reactions strengthened my decision to set these poems.
The work was written from January 8 to February 5, 2020. (A first sketch is dated December 2019). It consists of a sequence of six short poems that merge into one another without a break.
for two violins, two violas and two violoncelli. Duration: 12'. Completed: 19/03/2020.
Each mouvement takes 3 minutes, so these mouvements, despite their different character, have all the same length.
Mouvement I was written on February 18, 19 and 20. Mouvement II on March 3 and 4. Mouvement III on February 24 and 25 and mouvement IV on March 9, 11 and 19.
Part I starts with a given in violin 1 and 2. This consists of two groups of six gestures: first a group of six short intervals (three simultaneously and three immediately after each other), the second of two groups of three tones connected together.
These two groups are constantly repeated albeit with a rotation: 1 2 3 4 5 6 becomes 2 3 4 5 6 1 becomes 3 4 5 6 1 2 becomes 4 5 6 2 2 3 becomes 5 6 1 2 3 4 becomes 6 1 2 3 4 5 and then the original order. The other instruments play secondary layers or counter voices.
| A | the two groups in vl 1 and vl 2 |
| A1 | the two groups in the first rotation in vl 2 and viola 1, vl 1 play a counter voice |
| A2 | the two groups in the second rotation in viola 1 and viola 2, vl 1 and vl 2 play counter voices |
| A3 | the two groups in the third rotation in viola 2 and vc 1, vl 1,2 and viola1 play counter voices |
| A4 | the two groups in the fourth rotation in vc 1 and vc 2, vl 1,2 and viola 1,2 play counter voices |
| A5 | the two groups in the fifth rotation in vc 2 and vl 1, vl 2 and viola 1,2 and vc 1 play counter voices |
| A6 | the two groups in the original order in vl 1 and vl 2, viola 1 and vc 2 play a secondary layer |
Part II is a quick movement. An given (A) consists of two layers: one layer in the high register and one in the low register. After this A, a varied repetition (A1) follows; the two layers have switched their register; what was high becomes low and what was low becomes high. Then (B from A) follows a canon about A: the entrance (Dux) is in the two violins and viola1, the imitation (Comes) in the viola2 and the two violoncellos. A finishing group (C) closes this section. The middle section (D) starts in violin 2, both violas and both violoncellos with a rhythm in three chords separated by a rest. Then these rests between chords become longer and longer. Violin 1 plays a free counter voice that clarifies the extension by alternating (per extension) a melodic line consisting of fragments or a melodic line played with notes bound together (legato). Hereafter is a brief conclusion.
The canon (B from A) is repeated variously; the three low strings begin (Dux) and are imitated by the three high strings (Comes). Hereafter also follows a short conclusion.
Part III consists of a given (A) in the second violoncello (espressivo), after a short closure a variant (A1) of this given follows in cello 1 (intervals falling become intervals rising), after a short closure follows a second variation ( A2): cello two has the original given (A1) and violin 1 imitates with the first variation (A1). The other voices play counter voices whose gestures are getting faster and faster.
Part IV begins with a phrase (A) that consists of a rhythm in five chords next a variation on these and then another variation. Then this whole phrase is repeated varied (A1) and ends with a melodic fragment in the violoncello. Now the rhythm of the first twelve chords of A is rotated five times in groups of 6, which are separated by a - increasingly shortened - melodic fragment. After a short closure follows the first movement (A) canonically repeated: first in the original values then in the half values (diminution).
Trio for clarinet, viola and piano. Duration: 12,5'. Completed: 08/04/2020.
First performance: Heerlen, 19/08/2021 by Paulien Dieteren, Guus Ghijsen, Arno Dieteren. Video available
Perkaal was written between March 25 and April 8, 2020.
The work is based on two given (A and B) . A consists of two parts: a sequence (8 measures) of short groups of four notes that are repeated from back to front (retrograde) after a short interlude. B consists of two melodic given: melody 1 (12 measures) and melody 2 (12 measures) .
The work opens with A, then A is reduced by shortening the repetition of the first part of A (8 measures) by one measure, while at the same time maintaining the original length of 8 measures (thus becoming a sequence of 7 measures A + 1 size, 6 sizes A + 2 sizes etc).
Hereafter follows given B. First the melody 1 in the clarinet, then melody 2 in the viola. The piano has a contrasting layer for melody 1 and 2.
Now, based on the contrasting layer of the piano, there is a reducing: this music is shortened (in the piano) in a sequence of 10, 8, 6, 4 and 2 measures, which is concluded with a small transition. The other two instruments play accompanying and contrasting layers.
A developping of A. follows. A is repeated three times as a canon; however, the first time with only two notes, then with three and finally with four notes in the first voice (dux). The imitative voice starts 17 counts later, the second time counts 14 counts later and the third time counts 7 counts later. The imitation move closer and closer to the first entrance of the canon.
Given B is repeated in various ways: the two melodies now sound simultaneously: melody 1 in the viola and melody 2 in the clarinet. The piano plays the contrasting layer.
The next part is based on the second half of A. The original 8 bars are extended by one bar (and are repeated 9 bars) and - based on the last bar of the second half of A - a bar with music from A is always added: (1) 7 + 1bar A, (1) 6 + 2 bars A etc. until the second half of A has returned completely.
A second variation of the second given follows: melody 1 (clarinet) and melody 2 (viola) played simultaneously from back to front. The piano plays the contrasting layer.
Finally, a varied repetition of A follows, followed by a repetition of this A, in which the slowing of the rhythm prepares the conclusion.
On the website of the Maastricht Composers Foundation you will find a video recording of the performance of this work.
For 2fl 2ob 2clar 2bsn 2hrn 2trp 1perc (marimba, woodblock, suspended cymbal, snare drum, cow-bell) strings. Duration: 16'. Completed: 27/05/2020.
The concert was written between April 20 and May 27, 2020. Movement III was created first, then consecutively the movements I and II. Movement I and II each last around 4 minutes and take together the same length as part III.
The (count) tempo of parts I and III is the same, that of part II is 25% slower.
Part I (18/5-26/5) is three-parted (ABA)
A takes a minute and a half and consists itself of two parts: a given (a) of 21 bars, after a short interruption (b) this is varied (a1) and then concluded with a varied repetition of b (b1)
B lasts one minute and consists of a given that is first imitated after four measures and secondly after one beat.
The repetition of A consists of a varied repetition of a (a2), a varied repetition of b (b2) next a varied repetition of a (a3) and – as conclusion - a development from b.
It is easy to see that the structure is symmetrical in time: 1½ -1- 1½ minute.
Part II (27-28 / V) consists of four parts of approximately the same length;
A orchestra only, B is a melodic line with a large ambitus divided between cello and violin solo. After a short interruption (wind quintet), this B is repeated in a freely from back to front, and then the A part is repeated, but now with violin and violoncello solo playing.
Part III (23 / 4-14 / 5) consists of seven parts and each part lasts just over one minute.
The first is for the orchestra (a) in which the violin and cello play secondary parts.
This is followed by a part in which the violin is given a solo part (b). A development from a (= c) follows in which the violin and cello performing with the orchestra.
Now there is a variant of b in the orchestra with the violoncello as a solo instrument.
After a development from a (= d) in which the violin and cello are playing with the orchestra, now follows a varied repetition of b with the solo part of the violin, combined with the solo part of the violoncello. A short conclusion follows.
For marimba, guitar and harp. Duration: 12'. Completed: 07/07/2020.
The trio was written between June 9 and July 7, 2020. First movement II, then movement I.
Part I consists of four parts (A B C D)
A lasts one minute and is a duo between harp and guitar, the marimba accompanies with repetitive notes.
B lasts just over a minute and is a duet between marimba and guitar, the harp is a supporting layer. It consists of two parts: first a movement based on the rhythmical shape of a two-parted gesture alternating in marimba and harp, then this movement is concentrated in the guitar with a free counterpart in the marimba C (from B) lasts a minute and is a duo for marimba and harp: both play a rhythmic canon over the free counterpart in the marimba of the previous section, the guitar accompanies D takes just under a minute, is a closing section for marimba and guitar, the harp is silent (sets the tuning for the next section).
Part two begins with a sequence of chords in a rhythm (rhythm1).
Then follows a solo for guitar (= A) with rhythm1 and repetitions in the harp, a solo for marimba (= B) with rhythm1 and repetitions in the guitar, a solo for harp (= C) with rhythm1 and repetitions in the marimba.
After a connecting part (D) (marimba and guitar: the harp is silent) follows a solo (solo1 = E) for harp (with supporting layers in marimba and harp), next a solo for guitar (solo2 = F), with a rhythmic variant canonized in the marimba and a supporting layer in the harp, and then a solo for guitar (solo3 = G) in canon with itself (and later with the marimba).
The connecting part (the harp is silent) is repeated with a change of voice (marimba becomes guitar and vice versa)
Then there is a combination (= E / G) in the simultaneity of a variant of solo E (harp with support of the marimba) and G (guitar) and then (= F / G) a combination of F (in marimba and guitar) and a variant of E (harp).
Variations of the first solos are heard now in the order C (harp, with a secondary layer in the guitar, the marimba is silent), B (marimba, with the rhythm 1 and repetitions in the guitar and a secondary layer in the harp) and A (guitar, with the rhythm1 in the harp and a secondary layer in the marimba).
After this, layers E, F and G will perform simultaneously in harp, marimba and guitar respectively.
The opening chords close this movement, from back to front in a free rhythm.
VIII Songs for sopraan, flute, clarinet (b-flat) violin and piano. Duration: 15'. Completed: 17/08/2020.
Poems: Leo Herberghs.
The cycle was written between June 27 and August 17, 2020.
The poems were taken from the collection Heilig weer.
Previously two cycles for voice and piano were written on poems from the same collection: 'Heilig weer' opus 43 (1995) and 'Veraf geblazen adem' opus 54 (2000).
for trombone en double wind quintet. Duration 12'. Completed: 30/09/2020.
This composition was written between September 7 and September 30, 2020.
The work is one movement.
The work starts with a part for the wind section (A) followed by a trombone solo (B). Then follows a varied repetition of A (A1) in the wind section, followed again by a trombone solo (C). During the following variation of A (A2) the trombone starts and then ends this phrase also solo (D).
Next there is a duet between horn and trombone. The horn plays a given (which later becomes canon theme) consisting of seven fragments that are linked per two, per two and per three gestures. The trombone ornaments this phrase with a movement in three (triplets). This part of the trombone consists of five groups that are repeated in rotation (1 2 3 4 5 becomes 3 4 5 1 2 and 4 5 1 2 3) (E, F and G respectively).
Now follows what I want to call a "canon interrompu": a three-part canon in the ensemble in which fragments are left out in the leading and imitating voices. The theme is the melodic rhythmic element of the horn (from the duet with the trombone earlier) There is a series of four entrances (H, I ,J, K) The trombone takes a free contrary part.
In the ensemble now there is a sound field sequence based on the trombone part from E, but elaborated in multiple voices: first three, then four, then four again and finally five parts (L, M, N, O, P). The trombone plays a free contrary-voice with L, the main voice of F with M, a free contrary-voice with N and O, and with P the main movement of E.
Next is a section in which the trombone is predominant leading voice (quasi cadenza), flute and bassoon support.
Now follows a varied repetition of the beginning:
A1, now with trombone ;
B1, the trombone voice from B is now played (in various registers) by bassoon, oboe and flute, the trombone plays a variation of F ;
C1, now with trombone ;
D1, the trombone voice from D is now played (in various registers) by bassoon, oboe and flute, the trombone plays a variation of G ;
A2 (varied), the trombone voice from A2 is now played in a different register by the oboe, the trombone plays a variation of H.
The work concludes with a part in which the ensemble rotates a section of two groups of six notes, combined with trombone solos from the beginning: B, C and D.
for three percussionists. Duration 11,5'. Completed: 30/10/2020.
I: xylophone, snare drum, tam-tam, cymbal coperto, cymbal vibrare, gong
II: vibrafone, tom-tom (3: high, medium, low), bass drum, cymbal
III: marimba, cow-bell (3: high, medium, low), woodblock, triangle
The composition was written on 14/15 and from 26 to 30 October 2020.
The work is in one piece and consists of four units.
The work starts with a rhythm A (snare drum and cymbal) and is followed by a rhythm B (cow-bells and woodblock). After six bars of transition, these rhythms are repeated with pitch in the marimba (A) and the xylophone (B). After six connecting measures unit two follows.
Unit two is based on a height duration given I will call C.
First, this C is played twice in such a way that a variation arises because measures are omitted from this C in an ordered manner. The first variation (C1) is as rhythm in the cow-bells . After six bars of connection, the second variation (C2) in pitch and rhythm in the vibraphone follows.
After six bars of connection, C follows as two voiced canon in marimba (pitch / duration) and snare drum (duration), this entry is marked by the tam tam.
After 12 bars of connection, the third variation (C3) in the vibraphone (pitch / duration) follows.
On the sixth bar of the next connecting phrase, the fourth variation enters in (C4) in the xylophone (pitch / duration).
During this variation, the tom-tom plays the missing rhythms from C4.
Now, after 15 bars of connection, a three-voicd canon on C follows, successively in the snare drum (duration), tom-tom (duration) and marimba (pitch / duration), the entry of the snare drum (beginning of the canon) is marked by the tam tam.
Unit three is a varied repeat of the first block. Rhythm A (snare drum / cymbal) is repeated, except that this rhythm is interrupted three times by three intermediate measures. After three bars of connection, B follows in the cow – bells and woodblock), also interrupted, here three times by two bars.
After sixteen bars of connection, rhythm A in the marimba (pitch / duration) follows with pitch in the contrary movement and interrupted three times by three bars. After three bars the rhythm B in the xylophone (pitch / duration) also follows in the contrary movement and interrupted three times by one measure. After four bars follows the Coda (unit four).
Unit four is divided into three blocks (of 15, 20 and 25 measures).
The first block is a reduction of the simultaneously occurring rhythm A (snare drum / cymbal) and B (cow-bells).
The second block is a reduction of the melodic / rhythmic form of rhythm A (marimba) and B (xylophone) occurring simultaneously.
The third block is a breakdown of C in the snare drum (the canon theme).
for soprano, tenor, choir en orchestra. Duration 28'. Completed: 14/01/2021.
The composition was written between November 11, 2020 and January 14, 2021.
The text is the Sequence from the Catholic Mass for the Dead.
This text is divided into seven parts:
The Dies irae is built on three or four line verses (with the exception of the Pie Jesu which is in two lines). This structure is largely followed in the composition.
Movement I is divided into two parts. After a short introduction, the first verse (Die irae) is sung by the soprano solo. The second verse is for women's choir (sopranos and altos). Orchestral support is very limited and transparent.
The Tuba mirum (part II) consists of five verses. The first sentence of the first verse (Tuba mirum spargens sonum) is a tutti for chorus and orchestra, the next line is for male choir and the third for female chorus.
The second verse is a solo for the tenor solo.
The first line of the third verse is for the male choir, the second for the female choir and the third for tenor solo and male choir.
The fourth verse is for soprano solo.
The first two lines of the fifth verse are for women's choir and the third for soprano solo and the fourth for women's choir and soprano solo.
In part III (Rex tremendae majestatis) with one verse, the choral voices are subordinate to the setting in the strings, which perform a polyphonic movement with three fixed melodic lines (to be called theme, cp1 and cp2), which are interrupted by intermediate plays (divertimenti).
The following diagram clarifies the structure:
| Vl | th | cp1 | div | cp2 | - | cp2 | div | th |
| Vl | - | - | - | - | - | th | div | cp2 |
| Vla | - | - | - | th | div | - | div | |
| Vc | - | th | div | cp1 | div | cp1 | div |
_________________________________________________________
| Vl | th | div | cp2 | div | ||||
| Vl | - | div | cp1 | div | ||||
| Vla | cp2 | div | - | - | ||||
| Vc | cp2 | div | th | div |
The choir sings the text at the beginning of this movement and repeats the text "Rex" several times during the course of the work and finally the "tremendae majestatis".
Part IV (Recordare) consists of seven verses.
The first is for four-part choir (A),
-short interlude
the second for tenor solo (B) and three-part choir (variant A without choir-tenor),
-short interlude
the third for soprano solo (C),
-short interlude
the fourth is a duet for soprano solo(= B from preceding tenor) and tenor solo (C from preceding soprano),
-short interlude
the fifth for soprano solo (C) and three-part choir (with changing voices soprano becomes tenor, alto becomes bass and bass becomes alto, the soprano-choral voice is silent)
-short interlude
the sixth a variation of the duet for soprano solo (C) and tenor solo (B)
-short interlude
the seventh for soprano solo (B) tenor solo(C) and four-part choir (A '),
-short interlude
short closing section by choir.
(Technically speaking, this is a theme with variations.)
| I | II | III | IV | V | VI | VII | |
| S | - | - | C | B | C | C | B |
| T | - | B | - | C | - | B | C |
| Choir | A | A' | - | - | A" | - | A' |
| Orchestra | D | /E | F | G | /E' | F' | G' |
Part V (Confutatis) has two verses. This movement is completely set for four-part choir.
The first two lines the choir sings predominantly the same rhythm, during the third line (for soprano and tenor) the voices are slightly more independent.
This movement opens with a rhythm in two, which plays an important role as a secondary layer in the next part.
The second verse is also a polyphonic movement with three fixed melodic lines for four-part choir that are reasonably independent of each other (to be called theme (the entire verse), cp1 and cp2.
In the repetitions, the voices are brought as variation by omissions indicated by the term var. (the omission then sounds in the orchestra).
The following chart clarifies the structure of this second verse:
(The brackets indicate in which instrument the omissions are played)
| S | th | cp1 | cp2 | - | - | - | - | - |
| A | - | - | th var(vl2) | cp1 | var(vl1) | cp2 var(klar) | - | - |
| T | - | th var1(vla) | cp1 | cp2 | - | cp2 var(vl1) | C | - |
| B | - | - | - | - | - | th | cp1 | cp2 |
The different entries are the first three times separated by three two measures, and then by 2, 3, 4 and 2 measures.
Part VI (Lacrimosa) consists of a verse with four lines.
After an instrumental introduction, the choir sings "Lacrimosa", the soprano solo "dies" and then tenor- and soprano solo "qua resurget ex favilla".
The choir then sings the beginning of the third line "Judicundus", the tenor solo ‘homo reus’ and then the soprano solo "huic ergo parce," and together with the tenor solo: Deus ".
An instrumental part ends this movement.
Part VII consists of two parts. The first is set for a four-part choir. After an instrumental introduction, based on the main element of the second part, follows the text ‘Pie Jeu Domine, dona eis requiem’.
The second part is a canonical on the text Amen. The canon consists of four parts: the given in the soprano, then in countermovement in the tenor, then with omitted fragments in the bass, and then in the countermovement and with omitted fragments in the alto.
After a bar break there is a short closure together with the soloists (S and T).
Voor 2 violen, altviool en violoncello. Tijdsduur: 19'. Voltooid: 19/02/2021.
| I | quarter=120 | ca. 8'30" |
| II | quarter=64 | ca. 4' |
| III | quarter=120 | ca. 6'30" |
The work was written from January 18 to February 19, 2021. It consists of three movements.
The length of the movements is that the second part is about half of the first and the third about 2/3 of the first (roughly the ratio 3: 1.5: 2).
All are based on the technique of writing variations.
Movements I consists of two parts (A and B) that are repeated three times in a varied manner. Between each variation there are interludes of different lengths (short / long).
The variation mainly consists of:
- a interchange of voices
- with or without a embellished version thereof.
In brief:
A (close position of the voices) - interlude - B (wide position of the voices)
A1- interlude - B1- interlude - A2- interlude -B2- interlude -A3- interlude - B3- short ending.
Part II
This slow movement consists of a given A (four gestures in the violin) and after three bars transition (faster note values) a varied repetition of these four gestures (same rhythm, different pitch): A1 also in the violin.
After a short transition part (short note values), these A and A1 are repeated varied.
The variation arises because first the four gestures –now in in the viola- are interrupted by one bar and then -in the cello- by two bars. The remaining voices ensure a coherent progression of the movement.
Part III is a theme with two variations and two interludes.
A (theme) B (interlude) A1 (variation 1) C (from A1 = interlude) A2 (variation 2) Coda (short ending).
The theme is strict organized: in fact a canon in which the leading voice (Dux) always changes in number of voices.
The variations arise because two of the four voices are omitted and the remaining two change instruments. The two voices that have become free play a contrary music.
In the first variation, violin 1 and viola are free, violin 2 plays what was in the theme violin 1 and the cello what was in the theme violin 2.
In the second variation violin 2 and cello are free and violin 1 plays which was the viola in the theme and the viola which was the cello in the theme.
(R.M. Rilke ..sei allem Abschied voran)
Three songs for voice, violoncello and piano. Duration: 15'. Completed: 05/03/2021.
Poems by Petra Maria Amrhein
| I | Baum Blume Berg | ca. 5' |
| II | Du allem Abschied jederzeit voran | ca. 5' |
| III | Das Ende deiner Werkstattträume | ca. 5' |
The second song was written from February 2 to February 05. The third from February 24 to February 27 and the first from March 1 to march 05 2021.
Duration: 15'. Completed: 04/04/2021.
| I | Alla marcia | ca. 3.5' |
| II | Capriccioso | ca. 5' |
| III | Spiritoso | ca. 6.5' |
The work was written in the order Part III (March 11/18), Part I (March 23/26) and Part II (March 29 / April 4).
Part I (alla marcia) consists of three sections.
Section one is based on two movements (A and B) united in one phrase, continued by the free movement from the back to the front of this phrase.
Part two starts with a new movement (C) and a polyphonic development thereof, concluded by a tutti (all play) and is followed by a fairly varied repetition of this part (also with a tutti ending).
Section three is a varied repeat of section one; the variation consists of omitting measures from A and B, which are replaced by new gestures.
Part II (capricioso) is based on four movements (ABCD) followed by a varied setting from back to front (Cancer) KA KB KC KD and concluded by the simultaneous combination of first A with a varied B and then C with a varied D.
Now follows a contrasting section based on a group of four notes, combined with a group of three and later of two notes.
Then follows a varied repetition of the first block: the movements are placed in a different order: C D A B, then KD KA KB and KC and are concluded by the simultaneous combination of first B with a varied A and then D with a varied C.
Part III (spiritoso) is based on three movements (A, B, C) and the back-to-front (Cancer) movement of them (KA, KB, KC). These six movements are combined in alternating order and alternating simultaneities in such a way that they occur distributed in the different instruments.
Block 1: the movements one after the other:
A schematic overview:
| A | B | C | KA KB KC | A | KB | C | KA | B | KC |
Block 2: movements combined in pairs simultaneously
| A | KB | A | KA | B | KA | |
| B | KC | C | KC | C | KC |
Block 3: the movements of three combined simultaneously
| connecting part, then: | A | connecting part, then: | KA | |
| B | KB | |||
| C | KC |
Blok 4: final part.
Duration: 19,5'. Completed: 10/05/2021.
| I | 9' |
| II | 10,5' |
Part I was written April 12-21. Part II between April 27 and May 10, 2021.
Part I consists of six parts:
Introduction
(double) canon
Interlude (= variation Introduction)
Variant 1 (double) canon
Interlude (= second variation Introduction)
Variant 2 (double) canon.
The Introduction consists of two movements (a and b) followed by a variation of b (= b1) and a (= a1)
The double canon has the following structure:
| A | B | C | D | E | F | G | - | |
| - | - | 1 | 2 | 3 | 4 | 5 | - | |
| - | - | - | 1 | 2 | 3 | 4 | 5 | |
| - | A | B | C | D | E | F | G |
The interlude has the structure a1, b1 followed by a and b
The variant of the double canon consists of the second entry becoming the first and there is a change in register:
| - | 1 | 2 | 3 | 4 | 5 | 6 | 7 | |
| - | - | - | A | B | C | D | E | |
| - | - | A | B | C | D | E | - | |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | - |
The interlude has the structure a1, b1 followed by a and b
The final canon is a version of the opening canon shortened to half:
| E | F | G | - | |
| 3 | 4 | 5 | - | |
| - | 3 | 4 | 5 | |
| - | E | F | G |
The second part is a series of four variations separated by interludes.
I (theme)
Interlude
II (variation I)
Interlude
III (variation 2)
Interlude
IV (variation 3)
Ending
I consists of three sections A, B and C.
A is built on two rhythms (rhythm 1 and rhythm 2)
B is a development from rhythm 1
C consists of two variations of rhythm 2
II is a variation on I. The variation is created by a melodic connection of (parts of) rhythm 1 and 2 and because the movement of the instruments is interchanged (for example vl becomes pf etc)
A1
B1
C1
III is a variation on I. The variation is created by a melodic connection of parts of rhythms 1 and later also 2, by the rhythmic change of the two rhythms (for example, a rhythmic value (one) becomes two in the same time), by the displacement of the movements over other instruments (compared to the previous variations) and by the addition of free movements
A2
B2 on the same principle as in variation II: now a development on rhythm 2
C2
IV is a variation of I based on the same principle as variation III
A3
B3 a variation on the development of rhythm 2
C3
The interludes and ending together are the same length as variation I (theme).
For violin solo. Duration 8'. Completed: 17/06/2021.
Cambiamento was written on 19/26/29 May, 3/9 and 16/17 June 2021.
The idea of this work is to write variations and developments about a given that is already varied in itself.
The theme (A) consists of four phrases separated by a rest, the first phrase of which is varied in the third phrase and the second in the fourth: both phrases have each the same rhythm (1,2,3,4).
This given is varied (A1) in the first three phrases (1,2,3): the same pitch in a different rhythm. The next variation (A2) is on the first two phrases (1,2).
This block of three variations is the starting point for the following variations.
A3 varies and develops the phrases 2,3,4. A4 develops the phrases 2 and 3 and A5 varies and develops the phrase 2.
A6 develops the phrases 3 and 4 and A7 the phrase 3. As can be seen from the following overview, the result of the structure is that there is no variation 8.
The work is closed by a Coda.
Schematically:
| A | 1 2 3 4 | A3 | - 2 3 4 | A6 | - - 3 4 | Coda |
| A1 | 1 2 3 - | A4 | - 2 3 - | A7 | - - 3 - | |
| A2 | 1 2 - - | A5 | - 2 - - | - - - - |
For flute, bass clarinet, viola and piano. Duraion: 18'. Completed: 28/07/2021.
Sytti was written in June 2021.
Earlier I wrote, as a contribution (nr 10) to a project of the Limburg Composers Foundation, a short work (on 133b: three minutes) for these instruments accompanying the radio play Zeventig by Dick Gebuys. Several composers contribute to this project. In order to create more unity, Arno Dieteren provided a motto that had to be incorporated into each of the contributions.
This short composition consists of three parts; a part (A) that builds up to a tutti (playing all), the tutti part itself (B) and a gradual decrease to silence (C).
To me this short composition was so successful that the idea came to incorporate this piece into a longer work for chamber music in the same instruments.
It became four variations on the given with interludes. The original piece (133b) is the conclusion of this new composition.
Starting from 133b (which I call now theme), the beginning is a variation based on the back-to-front movement of parts C, B, and A (C1, B1, A1).
Then follows an interlude (1).
Next there is a variation on the preceding C part (C2) and after an interlude (2) follows a variation on A from back to front (A2) and B in the original direction of movement (B2).
After an interlude (3), based on interlude 1, a variation of A (A3) in the original direction of movement follows.
After another interlude (4) based on interlude 2, a variation of C (C3) in the original direction of movement and B (3) (back to front) follows.
After an interlude (5) follows A , B and C (the original on 133b).
So: first we hear the variations and finally the theme.
In schedule (K= back to front):
C1 (K), B1 (K), A1(K)
interlude 1
C2 (K)
interlude 2
A2 (K) B2
interlude 3 (=var 1)
A3
interlude 4 (=var2)
C3, B3(K)
interlude 5
A,B,C
For flute, bass clarinet, viola and piano. Duration 3'. Completed: 03/07/2021.
First performance: Vaals, 14/05/2022, by Ricarda Schuman, Paulien Dieteren, Guus Ghijsen, Arno Dieteren.
Zeventig (Seventy) was written on 06/30, 01 and 02/07 2021 as a contribution no 10 (postlude) to the radio play of the same name by Dick Gebuys in the context of a project of the Limburg Composers Foundation.
In order to create more coherence between the various contributions, a (short) motto of Arno Dieteren is given that the participating composers incorporate into their compositions.
Duration 23'. Completed: 30/09/2021.
Movement I of the quartet was written on August 16/17, August 26 and from August 30 to September 9.
Part II was written from September 13 to 30, 2021.
The first sub-part consists of two larger parts, the first (1) of which consists itself of four parts and the second (2) of three parts.
The four parts of 1:
A consists of the alternation of two groups, one of which is placed in a high register and the second in a low register. The groups are getting shorter and shorter.
Then follows B: a group-wise movement from the high to the middle register, these groups also become shorter and shorter.
C consists of a combination of pitch repetitions in fixed distances that differ in each instrument (e.g. first violin in 7, second violin in 6, viola in 5 and cello in 9).
This creates a pattern of tone combinations that is difficult to predict but nevertheless has a fixed underlying structure. After this group the same idea for violin 1 and cello (in combination of 7 and 9) and then in violin 2 and viola (in combination of 6 and 9). and finally only in the viola (in 5). The other votes are free.
The first part closes with a short reduction (D) of the movement.
The three parts of 2:
Now follows a section (E) in which a development of a melodic movement of two notes is central. In duration this is being shortened further and further.
A short violin solo is followed by F, which is a development of the second group (the low register) from A. After two measures of violin solo follows (G): a combination of E with F: the temporal shortening of a two-tone melodic line and the (low) group from A.
This sequence is now variedly repeated. The variation also consists of the displacement of the movements over the instruments. As an example: A starts with a movement in the high register (violin 1 and 2) now this starts in the low register (the custard and cello).
In section 2, the order of the parts is placed from back to front; first G (is E and F) then F and then E.
The following short violin solo is a connection to the short closing part.
Part II
This movement is based on the idea of making a repetition appear in a different guise.
Four separate gestures (each 20 measures) are followed after the first occurrence(G) in countermovement (T: ascending becomes descending and vice-versa), in backward movement (K) and in the countermovement of the backward movement (TK).
These gestures are combined in a canon-like setting:
| G | T | K | TK | G | T | K | TK | G | T | K | TK | G | T | K | TK | |
| VL1 | 1 | 2 | 3 | 4 | - | 1 | 2 | 3 | - | - | 1 | 2 | - | - | - | 1 |
| Vl2 | - | 1 | 2 | 3 | 4 | - | - | - | - | 3 | 4 | 1 | - | - | 3 | 4 |
| Vla | - | - | 1 | 2 | 3 | 4 | - | 2 | 3 | 4 | - | - | 2 | 3 | - | - |
| Vlc | - | - | - | 1 | 2 | 3 | 4 | - | - | - | - | 4 | 1 | 2 | - | - |
It is easy to see that:
-every move (1 to 4) at least once in each of the appearances (G T K TK)
- the imitation first in the four groups, then in three groups
then in two sequels, followed by one time only 1.
The voices not participating in the imitation (the 'dashes' in the diagram) are used in such a way that the same as they appear in the first two blocks (G T K TK) also occur in the last two blocks. In the parts that are still not used, free voices will occur.
A short closing is the end of that part.
for viola and cembalo/organ. Duraion 8'. Completed: 29/10/2021.
In September 2021, the violist Guus Ghijsen asked me for a work for viola and organ which, on the one hand, could fit in with the three sonatas for Viola da gamba and Cembalo BWV 1027-29 and, on the other hand, would have been written entirely in my own style.
At the beginning of October I immersed myself in those works by Bach and that gave me ideas.
It became three parts I (quarter =120) II (quarter =60) and III (quarter =90).
Part I was created between 14 and 18-21 October, part II on 25-26 and part III on 28-29 October 2021.
This was followed by a few more days of finishing and refinement.
The part for the cembalo is written in such a way that it can also be performed on the baroque organ.
The first movement is in a lively tempo and based on seven movements that are continuously combined and varied, in the viola and the left and right hands of the cembalo, with contrary voices.
The structure is in a continuous movement, with some obvious clusures.
The second, slow, movement is based on a repeating sequence of four notes (ostinato) followed by a measure of rest.
This is first heard in the low register of the cembalo (A): the viola and the high register of the cembalo play contrary voices.
Then – partly ornamented and here and there rhythmically changed – in the high register of the cembalo (B from A): viola and low register of the cembalo play contrary voices.
This B is then placed in the low register of the cembalo (C from A): the viola and the high register of the cembalo play contrary voices, followed by a few bars of closing.
The third movement, at a moderate tempo, is based on a nine-bar given (ostinato) repeated four times, the contrary parts– varied –are repeated twice:
| Viola | A | C | Ost. | D1 | |
| Cembalo high register | B | Ost. | A1 | C1 | |
| Cembalo low register | Ost. | D | B1 | Ost. |
The parts are profiled by short periods (of one size).
Another idea was to weave the three movements together. Of course, the interruption of I and II have been chosen with great care:
| I a first part: | 2’40" | |
| II A | 0.39" | III | 1.40" | II B (from A) en C (from A) | 1.24" | I the remaining: | 1’15" |
V stukken voor viool en piano. Tijdsduur 9'. Voltooid: 29 november 2021.
These pieces are written for players with limited experience on their instrument.
The violin remains in the first position and, like the piano, consists of simple playing techniques.
The parts were written on November 25 (I), 27 (II), 28 (III) and 29 (IV/V).
Part I is in slow tempo (quarter is 60) and consists of two melodic lines in the violin with a slight contrary voice in the piano.
Part II is fast (quarter is 120) and consists of a given of eight bars in which piano and violin participate equally.
This given is changed -shifted half a beat- and repeated in the piano. The violin plays a contrary voice.
After this, the given is again changed and repeated (shifted one whole beat) in the piano. The violin plays a contrary voice for five bars.
The closing phrase takes a sequence of two chords from the given as a starting point and builds a short development. This is imitated rhythmically by the violin.
Part III is fast (quarter is 120). It is a theme with variations. The theme in the first half is a combination of movements through three registers (low middle high) and is divided between violin and piano.
After a whole measure of a chord sounding, this sequence is repeated in various ways (theme).
This entire sequence is now varied in the piano, the violin is silent for the first half of the variation and then plays a contrary voice (variation 1).
The next two variations—both in the piano—repeat the theme with changes and interruptions, the violin playing a contrary voice (variations 2 and 3).
Part IV is moderately fast (quarter is 80). A short, rapid movement in the piano and violin simultaneously is followed by a melodic movement in the violin and then in the piano.
After a transition group of three bars, this is followed by a development in the lower register of piano and violin. The right hand of the piano plays a contrary voice.
This is followed by a second development, now only in the piano. The work closes with an altered repetition of the first development.
Part V is slow (quarter is 60) and consists of two phrases. In the first, the violin is clearly the main voice. In the second that is first the piano and then piano and violin together.
Duration 19'30". Completed: 20/01/2022.
This work was started on November 24, 2021 and completed on January 20, 2022.
Part I was written between 24/11 and 8/12 2021 and further instrumented on 20 01 2022. Part II was written between 09 and 18/12. Part III written between 20 and 22/12 and part IV started on 23/12 and completed between 10/01 and 19/01.
It is good to see that the parts are getting shorter and shorter.
Part II consists of a movement in which pitch and duration recede, making dynamic and color important. This twenty-bar movement is repeated six times.
The first time – softly – in the strings. After a short interruption the second time in the woodwinds and horn and a secondary movement in the violin/trombone and at the end with a short movement in the solo violin. After another short interruption, the third repetition is in brass with secondary movements in the bassoon/double bass and flute/violoncello with a short closing movement in the oboe. This oboe bridges the gap to the fourth repetition in oboe, trumpet, horn2, trombone and bassoon with secondary movements in first violins, violas/tuba, horn 1/flute and timpani. After a shorter interruption, the fifth repetition follows for violoncellos, second violins, trombone, trumpet and horn 1, with secondary movements in the oboe and horn 2/violin1, clarinet, violas, cello/oboe with a closing movement in the bassoon. The last repetition is for clarinet, oboe, horn 2, violas and double bass with secondary movements in the first violins, the violoncellos/flute, tuba/clarinet and timpani.
Part III is five-part A B A(abbreviated) C (derived from B) and D (derived from C).
The A part is based on a three-note movement (single, played, or chord). After four times this movement downward follows (after a chord block) five times this movement upward.
Now follows a contrasting part (B): sound fields (first strings, then woods, then brass, woods and strings combined are alternated with melodic movements in the first violins and then the oboe.
Next is a shortened version of A: two movements ascending in threes, a short chord and two movements descending.
Then follows C: a further elaboration of B; sound fields in woods/brass and strings, then strings and woods, then woods and strings combined with a descending movement in threes.
This elaboration is phased out (D) with increasingly shorter sound fields combined with movements in two and later also tone repetitions (movements in ones).
These tone repetitions lead to more and more standstill in the movement, which extinguishes as it were.
Part IV is four parts: A B(variation of part of A) C (development from A) D (development from A) The movement begins with a succession of three sound fields (1,2,3) interrupted by the flute. Then two sound fields slide over each other twice and after a last sound field in the wood, the next sound field is phased out in the strings. An interlude (clarinet) is followed by a variation of sound field 1 in brass, followed by a variation of sound field 2 (with a melodic element in the oboe), then a variation of sound field 3 with a melodic element, first in the cello and then in the violin. After sound fields are shifted over each other; first a variation of sound field 1 (wood) with sound field 2 (strings). Next sound field 3 with sound field 2 (divided over wood and brass) which this is marked by the timpani. Now follows a short dismantling in which the music comes to a standstill.
Coda
This concluding part is based on sound field 1, which is first broken up (separated by rests) in the strings and then in the wood. Then the beginning of IV seems to return. However, the sound field is increasingly fragmented and the music and after a short rhythmic revival the work closes.
Duration 13'30". Completed: 09/03/2022.
Poems: Nikolaus Lenau (1837).
This work was started on February 6, 2021 and completed on March 9, 2022.
The poems of Nikolaus Lenau were written in 1837 and published in the collection “Neuere Gedichte” (1838).
Song I was written between 7, 9, 10, 11, 14, 15 and 16 February 2022. Song II was written on 16, 17, 21, 22, 23, 24 and 28 February 2022. Song III written on 4, 5, 6, 7, 8 and 9 March 2022.
The orchestra treatment is aimed at supporting the singing voice and clarifying the text due to the different gestures and combination of the instruments.
The three poems are written in sonnet form: two quatrains (stanzas of four lines) are followed by two tercets (stanza’s of three lines). The composition follows this classification roughly.
In the first song there are short interludes between the two quatrains, between the second quatrain and the first tercets and also between the two tercets. The second tercets is followed by a short conclusion.
In the second song, the four sentences of the first quatrain and those of the second quatrain are connected (with very short interruptions).
After a short interlude, the two tercets follow, of which the two-times three lines (with short interruptions) are connected. After a short concluding music, this song ends.
In the third song, in the first quatrain, the first two lines of the next two are separated by an interlude. After a short interlude, the second quatrain follows: here too there is an interruption after the second line.
An interlude is followed by the first tercets in which the three sentences are connected. A short interlude is followed by the second tercets in which the three sentences are also connected. A short music closes the work.
For 12 solo string players. Duration 13'30". Completed: 07/04/2022.
Part I was written on April 4, 6 and 7, 2022. Part II was written on March 21, 23,24, 28,29,30 and 31 March 2022. The instrumentation, 6 violins, 3 violas and 3 violoncellos, is arranged for three string quartets.
Movement I consists of four parts, each of the same length (24 bars).
The first part consists of three slow four-tone movements. First in string quartet 1 (vl, vlc, vl2, vla), then in string quartet 2 (vlc, vl, vla, vl2) and then again in string quartet 1 (vla, vl2, vlc, vl1).
These movements have a sound field in the high register in String Quartet 3 as a secondary layer.
The second part begins with a short melodic line combined with a sound field in triplets. While this sound field is being phased out, the second group of four tones from part 1 sounds. This is followed by a variation of the sound field belonging to this group of four tones, provided with a melodic movement, and then this part is completed with the triplets sound field.
The third part starts with the backward movement of group 2 and an imitation thereof. This is followed by a variation of the accompanying sound field, also in an imitation. This movement is combined with a new rhythm in string quartet 3. This movement ends with a three-part canon about this last rhythm.
The fourth part starts with the third group of four notes from the first part with a double imitation thereof (and some free voices). This is followed by a variation of the sound field of this group. This movement ends with a canon in string quartet 1 and 2 about the new rhythm of part 3, with a sound field in string quartet 3 as secondary layer.
Movement II consists of six parts.
Part 1 begins one voiced (vl1 of string quartet 1). This is followed by a varied imitation (the notes are further apart in time) of this entry with a counter-voice (cp 1) and this is followed by a varied repetition of the entry (in the counter-motion and spaced still further apart in time) with cp 1 (also spaced in the tide) and a new dissenting voice (cp3).
The second part is an intermezzo and consists of three blocks.
Block 1 consists of an angular rhythm (a), there is a descending sound field movement, the end of which is overlapped by another angular rhythm (b).
Block 2 (a rotation) begins with a variation of b (the end of the descending movement and the second angular rhythm followed by a variation of a.
Block 3 begins with a varied backward movement of b followed by a varied backward movement of a.
Part 3 is again an imitative part in which the notes of the given, cp 1 cp2 and cp3 are placed further apart with a contrary voice 4(cp4).
Part 4 is an interlude that begins with a false entry of the given.
First there follows a variation of Block 2 and then a variation of Block 1, followed by a new tapering movement. Block 3 is missing.
Now follows part 5. This consists of the entry with cp 2 and cp 3 with new free voices and then the cp 2, cp 3 and cp 4 (without theme) also with free voices and finally only cp 4 with free voices.
Part 6 is a closing interlude.
Block 1 is again varied, notably by the addition of rests and followed by a variation on block 3 with longer tapering movement (block 2 is missing). Hereafter follows a canon on the first given with the four associated spacings in time.
A short closing movement ends this part.
2fl 2ob 2clar 2bsn 2trp trb 1perc(Bass drum,Snare drum, cymbal (sospesi) Tam-Tam) 2pf strings. Duration 21'30". Completed: 06/07/2022.
Movement I was written between June 20 and July 6 and consists of four parts A,B,C (from A and B), D (from A and B) that all take the same length (1’45’').
A begins with a movement alternating between orchestra and soloists and ends with a tutti. Then the two pianos play together a movement that is sparingly accompanied by the orchestra. An abbreviated version of the opening (alternating soloists and orchestra) closes this section.
Now B follows: a canon 'interrompue' in piano 1 and piano 2. The imitation of the canon is interrupted by rests.
More than words, a diagram may clarify the operation:
| pf1 | A | B | C | D | E | F | G | H | A' | B' | C' | D' | E' | F' | G' | H' |
| pf2 | - | A | - | B | - | C | - | D | - | E | - | F | - | G | - | H |
Part C (from A and B) is first derived from A: a varied abbreviation of the part in which soloists and orchestra alternate, and then out of B the second half of the canon, which is provided with counter voices in the orchestra.
Part D (from A and B) starts with the secondary layer of the solo part of part A; this is canonically processed in two parts and continues with a variation of the shortened version of A with the tutti closing. Then follows a varied repetition of the second half of the canon, followed by the accompanying conclusion of B.
Now follows a three-part canon about the secondary layer of the solo part, combined with the solo movements from A; a short conclusion is the end of this movement.
Movement II was written -with many interruptions- between April 25 and June 13 and consists of three parts that all last the same length: 4'50'' A, B(from A), A'
A in turn consists of six parts A, B (from A), C (from B), D, D' and E (from D)
B in turn consists of four parts F (from E and A/C), G (from D/B), H (from C/D) and I (from (C)
A' consists of a varied and altered sequence of A: D, D', B, A'', E and a closing.
A begins with a movement of three elements (a,b,c) and is followed by a development of a (=B) characterized by short interruptions by the soloists. C develops these interruptions in long rising movements in the two pianos that condense into a sound field-like movement that slowly comes to a halt.
Now follows a contrasting movement (D) without soloists, that consists of four times the same movement grouped differently. The soloists do take part in the varied repetition of this movement. This section concludes with a chord sequence in piano 2 and then a chord sequence in piano 1.
In E there is first a processing of chord sequence 1 with interrupting movements in the pianos and a tutti closes this part.
F starts with a movement from E with contrasting movements in the two pianos followed by a variant of A (now only in the orchestra) after a short development from C (the fast rising movements) the development from E is continued with a varied repetition of parts thereof.
G starts with an abbreviated repetition from D and then a short repetition from the B part (the interruptions), this is repeated in various ways. After a short repetition of the fast movements from C, H indeed follows with a processing from C that is interrupted by parts from D. This part is continued with I, this is a long reduction to the C movement and after a composed standstill the end of the middle part.
A' starts with a variation of D and D' with counter voices in the two pianos. Then follows a varied repetition of B and then a varied repetition of A. After a varied repetition of a part of E follows an abbreviated varied repetition of C with a composed ending with which the concerto closes.
Duration 12'. Voltooid: 16/08/2022.
Poems: Jean Wiermans.
On June 14, 2022 I attended a reunion with classmates I hadn't met for fifty(!) years.
There I spoke to Jean Wiermans, who turned out to be writing poems in different languages. Poems by Jean Wiermans.
I was approached by his work and decided to compose some poems in german for voice and string quartet.
They were: Wäo;re (22 and 25 July), Sein scheinen echt (26 and 27 July), Im Spiegel (8 and 10 August), Loch im Kopf (July 28 and 29) and Abschied (August 1).
With some refinements on August 15 and 16, the work was completed.
Duration: 20'. Completed: 06/09/2022.
On a given by Andrée Bonhomme
In June 2022 I wrote a short work for string quartet on a given by Andrée Bonhomme (1905-1982). The entry was found in the first three bars of her Lamento for cello and piano (op 84) written in 1941.
The short string quartet became the starting point for this work: four developments follow and then four variations:
| I | II | III | IV | V | VI | VII | VIII | IX |
| A | B (out A) | C (out A) | D (out A) | E (out A) | D' | C' | B' | A' |
It is easy to see that after the variations there is, as it were, a back to front movement of the theme (A) and the first three developments (B,C,D).
The length of the parts is different:
| I | II | III | IV | V | VI | VII | VIII | IX |
| A | B (out A) | C (out A) | D (out A) | E (out A) | D' | C' | B' | A' |
| 3' | 2,5' | 2' | 1,5' | 1 | 1,5' | 2' | 2,5' | 3' |
This duration division support the relationship between the parts.
r>The given of Bonhomme consists of a three-note descending movement and a rhythm on tone repeat as a secondary layer.
A first develops the descending movement and then the rhythm and repeats this development in a varied manner.
B (from A) develops the rhythm from the secondary layer of the given
C (from A) develops the descending movement of three notes
D(from A) develops another secondary layer (of three notes) written by me, that was set as a counter-voice to the descending movement in A
E (from A) is a new development on the descending three notes
D' varies D
C' varies C
B' varies B
A' varies A.
Duration: 3'. Completed: 14/07/2022.
On a given by Andrée Bonhomme
The work was written as a contribution to the Andrée Bonhomme project of the Limburg Composers Foundation and the Maastricht Composers Foundation.
The giving is found in the first three bars of the Lamento for cello and piano (op 84) which was completed by Bonhomme in January 1941.
for organ. Duration: 10'. Completed: 29/10/2022.
On September 7 and 8 I wrote a short piece (2 ½ minutes) for organ as part of the music I performed at my son's wedding. It became: Capriccio for Katinka and Tadeus.
Later this work became the starting point for a longer composition for organ. This composition is in one movement. After an introduction (A), which is based on the capriccio, follow the shortened version of original capriccio itself. (B).
This capriccio (theme) consists of two parts. The first consists of four groups: an a (5 bars) a b (7 bars) a c based on a (5 bars) and a d based on c (8 bars) after which this whole is concluded with a closing group (based on a) of 13 bars.
After a connecting part (C) follows a variation on the capriccio (B1). This is followed by a variation of the connecting part (C1) and a third variation of the capriccio (B2). A final movement forms the end of this work (D).
| In overview | A | B | C | B1 | C1 | B2 | D | |
| duration (min.) | - | 1,15 | 1,5 | 1,15 | 1,5 | 1,15 | 1,5 | 1,15 |
for electric guitar and organ. Duration: 7'30". Completed: 31/10/2022.
The work was created at the request of Joep van Leeuwen, who asked the members of the Limburg Composers Foundation to write a work for this instruments. It was written between October 5 and 31, 2022.
The structure of the work is:
A B (out of A) C D (out of A) C variation D variation B variation A variation
A begins with a six-bar phrase for pedal and guitar. The guitar plays a group of two notes three times, with the breaks ("rests") between those two notes (and the three groups) differing in length each time.
If the guitar doesn't play on the first beat, the pedal does, with an equally short note (also three times: before each group of two for the guitar. The notes never sound together.
Striking at this beginning is that the silence is almost of equal importance to the sound.
A varied repetition follows: the rhythm is repeated with instrument and register changes: guitar becomes organ and pedal becomes guitar. In addition to this color and register change, the variation also consists of other pitches and direction of movement (and a few things, I limit myself because otherwise the scope of this description would explode above its importance).
B is a development (varying-changing) of the preceding idea. The rhythm of the two instruments in the first six (and thus the second six) measures is merged into one rhythm (as mentioned earlier, they do not sound simultaneously). I put this rhythm in a rhythmic canon per arsis et thesis in which the notes that were short are sometimes extended. The movement is divided between organ (dux) and guitar (comes). This rhythmic canon is repeated with the guitar becoming the dux and the organ the comes.
C is more free in design and has an improvisational feel. The guitar plays groups of three, four, five and seven bars: the groups are separated by rests. The organ plays a group of 10 bars, which is varied and repeated, and closing with a shortening of this group (eight bars). The organ is more structured than the guitar and the structure of the organ forms a counterpoint to that of the guitar.
D Here the guitar is variable in rhythm; this is roughly indicated in the time placement but is now actually improvised (a). The organ plays the combination of the rhythm of dux and comes from the canon of B. Then the roles are reversed; the organ improvises in time placement (a) and the guitar plays a new item (b). Then the organ varies the new data (b) of the guitar and the guitar again plays a new data (c).
Schematic:
| Guitar | a | b | c |
| Organ | ‘dux/comes’ | a var | b var |
C consists of a variation of the guitar voice from C in the organ with a development over C from the preceding part. The organ closes this part with a variant of the beginning of C.
D is a variation due to the exchange of registers of D: the guitar was manual 1, manual 1 was the pedal and manual 2 remains manual 2.
B is a three-part variant of the canon from B (the second inset with a small shift).
| Guitar | Comes 1 | - - - | - - - | Comes 2 | ||
| Manual 1 | Dux | - - - | - - - | Comes 1 | ||
| Manual 2 | Dux | - - - | ||||
| Pedal | Comes 2 | - - - |
A is a variant of A and some closing bars close the piece.
For flute, clarinet, percussion (snare drum and suspended cymbal), violin, violoncello and piano. Duration 9'. Completed: 01/12/2022.
This work was written between November 10 and December 01, 2022 and consists of one movement.
The structure of this work is two parts::
A B C D A' B' C' D' E (coda)
A consists of the succession (three times) of a sustained tone followed by a sound field.
B is a flute solo based on one of the melodic sequences from the sound field followed by the reduction of this same sound field.
C consists of the succession (four times) of a sound field followed by a melodic fragment in successively the clarinet, the violin, the violoncello and the piano.
D is first a given in the violin (accompanied by the piano) based on the rhythm of the fragments from the previous movement (of the clarinet, the violin, the violoncello and piano) followed by a rhythmic two-part canon on this movement in piano and flute/clarinet and then by a three-part version of the canon in cello violin and clarinet.
A'
Now follows a variation of A in the sequence sound field and sustained tone (sequence swapped)
B'
The variation of B' arises by the flute solo which is split into two times into the succession clarinet, violin, violoncello and by the sound fields which are set in imitation.
C' In C' the sound fields return and after them the melodic fragments: the whole moves from back to front with respect to C. The original order sound field - clarinet (I), sound field - violin (II), sound field - violoncello (III), sound field - piano ( IV) now becomes: piano sound field (IV), violoncello sound field (III), piano sound field (II), violin sound field (I). The lengthening of the sound fields partly overlaps the melodic movement.
D'
This is a variant of the rhythmical two-part canon from D in that the inserts and imitations gradually move apart, this process being provided in the three-part canon; this creates a slowing down of the movement (written ritenuto).
E
The subsequent closing section consists of a further dispersion of given voice and imitation into a three-part canon. It will be a bit more difficult to hear because of the contrapuntal instrumentation (the voice leads change instruments during the movement) and the register placement.
A run-out of seven measures closes the work.
For flute, clarinet, violin, viola, violoncello, harp and piano. Duration 14'. Completed: 26/01/2023.
This work was written - with interruptions - between December 8, 2022 and January 26, 2023 and consists of one movement.
This work is divided into four parts.
The first part starts with the given of eleven measures (A), followed by four developments about this A. These developments are based on a rhythmic/canonical processing of A with supporting and countervoices.
First follows a two-part canon in the piano and clarinet (B from A). Then a three-part canon in the harp, piano and violin (C out of A), then another two-part in piano and flute (D out of A) and again a three-part in harp, cello and clarinet (E out of A). This work is divided into four parts.
The first part starts with the given of eleven measures (A), followed by four developments about this A. These developments are based on a rhythmic/canonical processing of A with supporting and countervoices.
First follows a two-part canon in the piano and clarinet (B from A). Then a three-part canon in the harp, piano and violin (C out of A), then another two-part in piano and flute (D out of A) and again a three-part in harp, cello and clarinet (E out of A).
The second part consists of a new melodic movement (F) in the violin (ascending) and in the clarinet (descending). Now follows a solo for harp (G) and then a varied repetition of F, first an upward movement in the harp (and clarinet) and then an upward movement in the violin (F’).
The now following third movement combines elements from the previous movements with each other.
First a development of A with a movement from D (=H). Then I (from F and B=the two-part canon), then J (from C=the three-part canon and F).
Now the third part is interrupted by a slow movement (the tempo is reduced by half). It starts with a solo for piano, with limited support from other instruments.
This is followed by a duet for flute and clarinet and then a trio for violin, viola and violoncello.
These soli (solo, duet, trio) are all of equal length, with the third slide partially over the second. The last five bars of this section correspond to the five bars before the break after J,(but now of course at half that tempo, allowing for longer rests to arise).
After this the original tempo is resumed and K follows (from G and D = the two voices canon) and L (from F and E=the three-part canon)/
The fourth movement consists of a succession of rhythmic canons based on A (two voices and three voices and four voices) with the imitative voice getting closer placed on the voice to be imitated.
In other words: the time distance between the first and the other voices is getting shorter and shorter.
A short lock confirmation closes the work.
For piano quatre-mains. Duration 9,5'. Completed: 25/02/2023.
(Greek): knowledge.For many years I have enjoyed playing music for piano quatre-mains. It is not surprising that I came up with the idea of writing something for this setting.
This work was composed between February 8 and 25, 2023 and consists of three movements. Both corner parts have the same tempo and are about the same length, the middle part is slightly longer.
The first movement is a strongly rhythmic and is divided into four parts (A=50', B=50' C (from A)=50' and B’=30').
A consists of two parts and is determined by a combination of three motifs, alternating with a strongly chordal passage. A short melodic movement closes this section.
B also consists of two parts. The first resumes the play of the three motifs and builds them off in a movement with rests. This is followed by a movement that also comes to a standstill due to a thinning.
C is a variant of A. The gesture of A is distributed over time by other movements.
D is a shortened varied repetition of B.
The second movement is more melodic in design, is in three parts (with parts of more or less equal length) and has the following structure:
| First player | A | C | B |
| Second player | B | A | C |
The third movement is a combination of strong rhythmic gestures and more melodic movements and is in three parts A B A' (both corner parts are more or less the same length, the middle part is about half of that).
The first part (A) is a canon. The first voice consists of six gestures (a,b,c,d,e,f).
The imitation of these six gestures is such that after each individual gesture a decreasing number of bars of interruption are set.
First player: a b c d e f followed by gestures that are not imitated.
Second player: 5 bars on a first gesture: then a, four bars based on first gesture: then b, three bars based on first gesture: then c, two bars based on first gesture: then d, one bar based on first gesture: then e and f in succession (no measure separating the functions).
Now follows a short movement (B) with a completely different somewhat erratic gesture.
Then there is a varied repetition of A by changing the movement in the registers: