G minor. A contemporary continuation of the tradition.
The contemporary solo parts are embedded in the entir and do not serve as contrast. It was a challenge not to compose individual "world", but bring the different parts together as one composition," according the composer.
G minor2011 34’ string quartet commissioned by November music / Jheronimus Bosch 500 2011 Netherlands Free score
Performers Matangi string quartet Recording: De Concertzender / vpro Live 12-11-2011 November music festival Netherlands
Mouvement 2013 11’ Saxophone quartet commissioned by AxesJazzpower Netherlands Free score
Mouvement is about the daily movement of cities and their culture. This constant flow consists of a complexity of different cultures. They function as an organic ball. Without concept but with desire for self esteem and acceptance. They nourish the veins which keep the cities alive.
All forms of time awareness seem to be absent and thoughts are all jumbled. Everything seems to disappear in some kind of void. Precisely such lost touch with reality is my inspiration and gives me the idea to wonder whether we are not living in some sort of a coma right now.
The Reflex of.. (for orchestra)
Performers Axone saxophone quartet Live registration 1-12-2013 Van Abbemuseum Eindhoven
In the composition g minor are the rules turn. Bach's violin sonate g-minor becomes a stringquartet. And there are contemporary solo parts for violin, viola and cello.
Bach knows as no other to penetrate to the soul of a solo instrument. Thought of Frankhuijzen about this: "Just by the sonatas and partitas I encounter as listener and composer that you are in a stream. Bach used the instrument optimal and focuses on the nature of the instrument and his idea about music.
In the parts of Bach I wanted to see the string quartet as one large violin, and recomposed this thinking that ech instrument is equal. I don't like that in the arrangement the 1st violin has the leading role and the other instruments just following.
The text is one large collection of fragments from the Spanish character knowledge over the period of approx. 1040 up to and including the 17th century. Language is an organic thing. It changes as a means of expression with the passing of centuries. Language stands for cultural identity.
The accompanying changes in man's emotional life formed the great source of inspiration for composing 'Romancero'. It has not become a scientific argumentation.
Inspiration purely came from the change in the way that sentiments were interpreted and expressed over the centuries. The composition consists of three successive parts.
Romancero (2007) 12:00’ Vocal ensemble, alto recorder, trombone, fiddle, viola da gamba Commissioned by dr. Rebecca Stewart, for the project week Modern Music by means of Modal Methods of the schola Cantorum Brabantiae (Fontys academy Tilburg Netherlands)
Performers musical director dr. Rebecca Stewart vocal: Mami Irisawa, Marsja Mudde, Marijke Meerwijk, Naomi Yasumura, Bram Verheijen, Ronald Kuilman, Ton Debets. recorder Yoko Kobayashi, fiddle Hans Lub, viola da gamba Monique van der Pijl-Pellens, trombone Christian Braun
Recording:Kees van de Wiel live 14.07.2007 SM’s museum ‘s-Hertogenbosch The Netherlands
Romancero are one large wave movement in which always another manner of feeling expression takes places.
Coma. When somebody is ‘in a coma’ the entire well-being is no longer working.
While composing ‘Coma’ I noticed that I was thinking of the composition in an orchestral way. I used ‘Coma’ as inspiration for the orchestral performance. It is not a process of instrumentation, but it is rather a continuation of the composing process. 'The Reflex of' is emphasis on the stress of the society in which we are living.
The music represents, as it were, the reflex of influenced by life itself. The orchestra represents the larger organ, the intricacy of society, whereas ‘Coma’ in the trio versions represents much more intimacy. The parts are: stress situation, the void and dance in space.