It starts out with a seemingly simply naïve movement pattern. Bit by bit a certain unrest comes into being. That unrest gradually gets the upper hand, but in such a way, that the drive remains present. At the end as it were the naked approaching accents that were created in the unrest remain.
for piano and violin has his inspiration inthe thought of Stéphane Mallermé (1842-1898). He saw the poem as a structure of pronounced and concealed words. To give a name to the object is to destroy the poetical power it contains. In 'Slow intensity' Paul Frankhuijzen responded to this. His inspiration is especially the structure of spoken and unspoken words. By means of slowing down the tempo it creates openings for new layers. The musical material which is arising out of ‘Éventail de Mademoiselle…’ for alto saxophone shows it self in this.
When an artist is working he/she can so intensively approach a detail or phrasing so that specific moments stay as a subjects on their own in that larger scheme. In “Slow intensity” the composer stresses these moments. The intention is to show the present without explanation and not to create a dream world.
a cello duo consisting of Jacqueline Hamelink and Eduard Van Regteren Altena. It was commissioned by ‘De Groep van Steen’,a pantomime group.
Three data have been incorporated in ‘Fantasia’, i.e. 1) Some components are quiet. In those components both cellos move graciously and the melody plays a liberated part. 2) Other components on the other hand emanate energy. In those components the music sounds piercingly high. 3) There is a component in which the two cellos follow the rhythm simultaneously, but with the smallest of deviations, whereby music progresses as if it is gliding.
Those three details alternate throughout the composition.
The consort music for six voices by William Lawes (1602-1645), written for six violas de gamba was a source of inspiration for me as well, especially when it came to creativity, polyphony and contour.