Performers
One big pasture
Guitar Aart Strootman
Recording:Kees van de Wiel
live 14.07.2010
Toonzaal ‘s-Hertogenbosch
The Netherlands
Éventail de Mademoiselle...
Alto saxophone Tanja Eijnden
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One big pasture (2007) 8:30’
guitar / Free score
By the waterfront (1998) 11’
for two percusion performers
commissioned by Stamb / Free score
Éventail de Mademoiselle... (1998)
9’
alto saxophone / Free score
One big pasture
The below-mentioned prose text by Gonzalo de Berceo
(Spain, 13th century) has been a source of inspiration to me.
Yo, maestro Gonzalo de Berceo nomnado,
yendo en romeria caesçi en un prado
verde e bien sencido, de flores bien poblado,
logar cobdiciadero para homne cansado.
Daban olor sobejo las flores bien olientes,
refrescaban en homne las caras e las mientes,
manaban cada canto fuentes claras corrientes...
I, master Gonzalo de Berceo by name, arrived,
when on a pilgrimage, at a green and grassy pasture,
where many flowers bloomed.
It was a lovely spot for a tired man.
The so fragrant flowers smelled wonderful and
refreshed a man's face and mind.
On all sides clear water flowed from rising springs…
Here is a picture full of flowers refreshing the senses. The pasture is
the holy virgin, halting place for and refresher of the traveller.
What is portrayed is that everything has its place in the scheme of
things. And amidst all this the traveller is sitting daydreaming.
Éventail
de Mademoiselle…
In the third part the object becomes visible.
In this part Éventail de mademoiselle…
it's poetical and colourful and moves up and
down as a breeze in the air. Mallarmé saw a
poem as a structure of utterd and unuttered
words. To name an object is to destroy the
poetical power it contains.
By the waterfront
The second part focuses on the water
flowing from the springs.
Claude Monet's lily pond was a source of
inspiration here. The pond offers a
glimpse of eternity.
Here one experiences the existence of
the unknown object. The lily pond
paintings fit in with Stéphane Mallarmé's
ideas: emptiness is as important as
fullness, reflections get the weight of
objects.
Through introspection the unknown object
by and by becomes clear.
Triptych
Originally ‘Eén grote weide’ [One big pasture] is the first component of a
triptych.
The second componet is 'Aan de Waterkant' [At the waterfront] for a
percussion duo,
‘Éventail de Mademoiselle…’ [The fan of ms….] is the third component for
alto saxophone.
The triptych forms one entity, however the components may also be performed by themselves.
Charles-Alexis de Montpellier had the gardens surrounding the castle laid out
around 1770.The prevailing theme in the gardens is the use of water, inspired
by the fountains of the Villa d’Este in Tivoli and the quiet basins of Versailles.In
each case a water stream is fed by three sources, appearing in a different
shape every time (fountains, basins).
In the composition I have kept to the sequence of the guided tour. I have
classified said sequence according to the Haiku proportion of 5-7-5 = 17.
Every time the rhythm changes and/or at a double bar the visitor arrives in a
different part of the garden, where a new garden element originates.
The recorder plays a free melody simultaneously, thus depicting the individual
emotions of the visitor.
Performers
Recorder; Maurice van Lieshout
percussion instruments; Eduardo Leandro
Recorder; Maurice van Lieshout
percussion instruments; Eduardo Leandro
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Annevoie (1993) 14’
tenor recorder (or d’recorder) percusion instruments
commissioned by Maurice van Lieshout
Free score
tenor recorder (or d’recorder) percusion instruments
commissioned by Maurice van Lieshout
Free score
An Estampie is a dancing tune from The Middle Ages.
It is usually instrumental and its musical patterns recur all the time.
The Estampie is rather light-hearted and that quality was the basis of departure in this composition, besides its great possibilities for solo performances and its dancing
character. Playing the bongos gives drive to the composition, but that is alternated with creative playing all the time. As, for instance, subtle play by using the fingertips
can be alternated with playing with the flat of the hand, whereas the recorder clearly has more of a solo-role to play.
Performers
Recorder; Suzanne van der Helm
Bongo's; Jelle Overheul
Recorder; Suzanne van der Helm
Bongo's; Jelle Overheul
Estampie (2006) 4:50’
alto recorder, bongo set
commissioned by Maurice van Lieshout
Free score
alto recorder, bongo set
commissioned by Maurice van Lieshout
Free score
The inspiration comes from several film images from the film ‘Potemkin’ by Eisenstein.
The revolution is created, as it were, in the movement of a crowd of people in that film.
But also ‘minimal music’ has been a source of inspiration. The ever repetitive as well as the
meditative properties of that music style Paul Frankhuijzen has wanted to break up with other
repetitive influences.
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.
Handmade by the people of:
The composition deals with a movement pattern.
The composition deals with a movement pattern.
Handmade by the people of (1995) 6’
two Piano’s
(also possible piano and four hands)
Free score
two Piano’s
(also possible piano and four hands)
Free score
‘Fantasia’ was composed for ‘Dubbelduet’,
a cello duo consisting of Jacqueline Hamelink and Eduard Van Regteren Altena. It was commissioned by ‘De Groep van Steen’,a pantomime group.
a cello duo consisting of Jacqueline Hamelink and Eduard Van Regteren Altena. It was commissioned by ‘De Groep van Steen’,a pantomime group.
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.
Fantasia (2004) 7’
2 cellos
commissioned by De Groep van Steen
Free score
2 cellos
commissioned by De Groep van Steen
Free score
Performers
Ensemble Dubbelduet
Cello's: Eduard van Regteren Altema, Jacqueline Hamelink
Recording; De Concertzender Toonzaal 's-Hertogenbosch Netherlands
Ensemble Dubbelduet
Cello's: Eduard van Regteren Altema, Jacqueline Hamelink
Recording; De Concertzender Toonzaal 's-Hertogenbosch Netherlands
| Audio samples |
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| © Paul Frankhuijzen |
| Audio samples |
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| © Paul Frankhuijzen |
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 the
music progresses as if it is gliding.
Those three details alternate throughout the composition.
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 the
music progresses as if it is gliding.
Those three details alternate throughout the composition.
Annevoie refers to the Château d’Annevoie,
situated south of the town of Namur in Belgium.
situated south of the town of Namur in Belgium.
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© Paul Frankhuijzen