composer
In the years following 2000, Michel van der Aa has quickly developed into a composer with an international reputation. Characteristic of his work are his constructivist approach to music and ...
related works
24 capriccio's voor viool solo
Genre:
Chamber music
Subgenre:
Violin
Scoring:
vl
Blues : voor de Volharding, voor blazers, contrabas en piano, 1980 / Huub de Vriend
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Scoring:
1000 3sax 1330 pf cb
Zou 't pijn doen : (Stevig wrijven), for 14 instrumentalists, 1988 / Chiel Meijering
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Scoring:
2010 2sax 2121 el.g pf el.cb
Dirt to Gold : for chamber orchestra / Brendan Faegre
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Scoring:
2fl 2ob 2cl 2fg 2h 2trp trb trb-b timp perc hp 2vln vla vc db
composition
Attach : for ensemble and soundtrack, 1999 / Michel van der Aa
Description:
Program note (English): (Première in Japan: 28-9-2000 - Sapporo Concert Hall - Nomad Ensemble, cond. Norio Sato). Attach is a piece with a high density of events. Central subject is the relationship of the musicians and the tape part. The tape precedes and extends the material of the musicians and challenges the players to react. It adds new overtones to chords and sequences and changes the colour of the instruments. In Attach the sounds of the ensemble and the sound track are glued together: they seem to be in line with each other, even when they contrast. The most prominent ingredient right from the start is a regular, mechanic pulse, occurring in several tempi at once. The piece opens with an exposition in which this pulse alternates with rapid unisono passages and long-held chords that are strangely discoloured by the electronic sounds attached to them. Then follows a much quieter music, in which a perspicacious listener may recognize the opening section of Above, now reduced to a skeleton of
unraveled chords. This quiet, reflective texture is gradually invaded by pulse beats and faster notes until the music explodes into a headlong rush of alternating lightning phrases, hammered chords and dramatic pauses, that gradually intertwine and culminate in a feverish tutti in which the unison has given way to a rapid succession of chords (the same ten chords that underlie the whole trilogy). At last the movement stops short in a furious attachment, after which the calm counter-music takes over the discourse. This, however, is soon disrupted by intruding dry pulses, which go on to end the piece by themselves. 'Attach' is part of the 'Preposition trilogy - Above, Between, Attach'. Each part focuses on a specific positioning of the musical material. - MICHEL VAN DER AA