composer
Testimony:
__recording one-arm bandits in Las Vegas for “and god invented dice”
__developing new instruments like the soundwheel, plexiphone, the wind-twirler
__making a sound painting of of Tesla plasma lamps in slow motion ...
related works
Afterwalk (après promenade) : for partially prepared piano / Christina Viola Oorebeek
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
Atem : for two pianos / Jeroen Elfferich
Genre:
Chamber music
Subgenre:
Piano
Scoring:
2pf
Suite : voor piano / Jacques Goudappel
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
Prélude en fuga : voor piano / Robert (Bob) Hanf
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
composition
Tremors and Quakes : for piano, 1998 / Christina Viola Oorebeek
Description:
Program note (English): The toccata form was the starting point for 'Tremors and Quakes'. The pianist who commissioned me to write it had invited a number of composers to use the Renaissance and Baroque toccata forms as a reference for writing a solo piano piece for a series of recitals combining these contemporary toccatas with Bach toccatas. I made a list of personal images suggested to me by the meaning of the word toccata - toccare, to touch, to strike. One reference was the basic on/off attack of the harpsichord key stroke, with its quickly decaying sound. Another image was the descriptions of computer models simulating the processes used by shells to create pigmentation patterns. The activity of pigment cells in certain sea shells turning on and off to form symmetrical and asymmetrical patterns was a visualisation for me of the harpsichord key stroke. This tied in with my form idea for the material of the piece. The shell species 'oliva porphyria' particularly fascinated me with its branching V
forms. A musical source was, naturally, the Bach toccatas. The improvisatory style with short sections often separated by adagio passages, the fuga, the harpsichord-like tremolo effects, the motoric demands on the player's virtuosity were elements I wanted to incorporate in the piece. The glissando tool attempts to give more flexibility and ease to playing glissandi on the piano, and to be able to use glissandi more melodically. The dynamics in the coda suggest a kind of wave from high to low, or again, the V form converging on the center e-f of the first octave of the keyboard. - CHRISTINA VIOLA OOREBEEK