LOUIS ANDRIESSEN HOKETUS PDF

Early Andriessen works are serial, but by he was working with graphic notation, as in the piano piece Registers, using a Read more combination of fixed and non-fixed elements to facilitate improvisation. In , Andriessen swore off writing music for standard symphonic ensembles for good, a decision that was to profoundly impact his development. For a time, he worked in electronic music; his first venture into theater on his own with Il Principe. De Staat earned Andriessen the coveted Kees van Baaren Prize, and since then he has garnered numerous awards, citations, and commissions.

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Early Andriessen works are serial, but by he was working with graphic notation, as in the piano piece Registers, using a Read more combination of fixed and non-fixed elements to facilitate improvisation. In , Andriessen swore off writing music for standard symphonic ensembles for good, a decision that was to profoundly impact his development. For a time, he worked in electronic music; his first venture into theater on his own with Il Principe.

De Staat earned Andriessen the coveted Kees van Baaren Prize, and since then he has garnered numerous awards, citations, and commissions. Andriessen also composes music designed to challenge the talents of specific performers; Forget-Me-Not requires an oboist to also play piano, and in TAO there is a part for a pianist who speaks and also plays the koto. Andriessen is regarded to some extent as an ensemble builder; Orkest de Volharding is a group he formed to play the same-named Andriessen work, and the ensemble came together afterward to program and commission other repertoire.

Younger composers view the work of Andriessen as an alternative to academic serialism and American minimalism, and aspiring composers from many nations have come to Holland to study with him at the Royal Conservatory at The Hague. He collaborated with stage director Robert Wilson on the four-part De Materie in In the s, a fruitful collaboration with film director Peter Greenaway led to several works, including the films M is for Man, Music, Mozart; Rosa: The Death of a Composer; and the opera Writing to Vermeer, which premiered in Sometimes didactic in his defense of his progressive political views, Andriessen is nevertheless far from humorless.

His penetrating insight as an essayist on topics such as Stravinsky may be read in his book The Apollonian Clockwork, published in I prefer the jacks-of-all-trades: the Purcells and Stravinskys, who are at home anywhere, borrowing here, and stealing there.

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Louis Andriessen

The four-part De Materie is representative of his bold and manifest operatic activity. In a different way, the delicate Writing to Vermeer , again in collaboration with Greenaway tenderly recomposes baroque music and its wider culture. The solo bass trombone elaborating a descending glissando motive slowly involves another trombone part and the two lines grow into a background structure supporting the singing of the principal character, the Jesuit scholar Athanasius Kircher. Theatre of the World is certainly not the first stage work in which Andriessen is attracted to the grotesque. As a metaphor for mankind, the barge drifts away in an unpredictable direction. It is a Brechtian parody about film, opera, and their interrelationship. It mockingly depicts the world of western movies and an alleged conspiracy against composers.

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