Not the same God as made the Lamb! How could the Maker produce all the attractive and acceptable things in life, but at the same time create all those things that are ferocious or wicked? Could such a thing be the work of a loving God? Surely not. These are encapsulated in the notion of The Tyger, a kind of uber-beast. In this short poem about the life force, the poet contemplates things that are scary and ferocious – a tiger, something burning in the dark forest.The poem is to be found in a collection entitled ‘Songs of Innocence and Experience’ published in 1794 and should probably be considered alongside another piece written a little earlier called ‘The Lamb,’ thereby contrasting the savage and wild with the meek and mild.Some of the writing and thinking that I do there can be found in the ‘text’ section. Please let me know and I will contact you.īesides composing, I lecture in New Music at the Conservatorium van Amsterdam, with a focus on chamber music and music aesthetics. Would you like me to rehearse with you or do you want to know more about a piece?ĭo you want me to write a piece for a particular line-up or event?
As is the interplay between sponsor and composer. The interplay between performer and composer is absolutely essential in newly written music. Scores will always be adapted to their needs.
Sometimes their improvisations are included in the musical story. In rehearsal and performance, the performers and I learn a lot from each other. My music features individual performers – to convey a thought, an emotion, and a story to the audience in a virtuoso and intense fashion.
It should challenge and offer musical satisfaction to those many amateur singers – that I am one of. The CD Kadanza is a fruit of decades of collaboration with the best professionals who were often also the best teachers.įor me, choral music is also a species of chamber music. My chamber music for recorders has a special place in my work and is played in large numbers by amateurs. The sounds I cherish most are those that through the musician’s hearts, breath and hands bear the mark of their personal interpretation.Ĭhamber music is, therefore, central to me – I have written for the Bennewitz Quartet and Harry-Imre Dijkstra, the Skampa Quartet, Rosanne Philippens, the Bartók Trio, the Utrecht String Quartet and many others. It is their virtuosic interplay, comic or dramatic, but always emotionally charged, that is the musical theater my music presents to the listener. I value musical craftsmanship and intuition highly. Folk music, church music and Early Music are the sources to which I return to seek new melodic beauty. My guiding principle is the classical European tradition. Musical beauty and simplicity are my aim.
0 kommentar(er)
