related works
La Guerra : for mezzo-soprano and baritone, mixed choir and symphony orchestra / Jan Vriend
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
GK4 2fl(picc) 2ob eh 2cl cl-b 2fg cfg 4h 2tpt 2trb trb-b tb perc hp str
Alleluia : for 12-voices mixed choir / Xavier Gelabert
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
GK
Zwei Bilder von Auschwitz : für 16-stimmigen gemischten Chor a cappella, 1981 / Henri Delnooz
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
4sopr 4alt 4ten 4bas
Genre:
Vocal music
Subgenre:
Mixed choir; Vocal ensemble (2-12)
Scoring:
sopr sopr-m alt ten bas / GK5
composition
Entre el olivo y el hombre : for mixed choir a cappella, 2001 / lyrics by Miguel Hernández, Jan Vriend
Other authors:
Hernandez, Miguel
(Text writer/Librettist)
Vriend, Jan
(Composer)
Contains:
Delen: Introduction
Canción primera = First song
Sentado sobre los muertos = Sitting upon the dead
El tren de los heridos = Train of the wounded
El Hambre I
El Hambre II
El sudor
Canción ultima = Final song
Description:
Program note (English): Entre el Olivo y el Hombre was written for the Chamber Choir of the Netherlands in response to a successful performance of an earlier work I wrote on poems by Paul Celan called Du-Dich-Dir. It was also a response to my desire to write music to a Spanish text. Miguel Hernández wrote his 'poemas de guerra' between 1936 and 1939. They speak of sadness and joy, of brutality and love, of desperation and hope, of defeat and promise, of ugliness and beauty. This range of emotions summons a broad spectrum of musical expression and inspired me to dig into the wider reaches of my musical heritage. The specific qualities of the Spanish language added further colour and articulation whilst occasionally drawing in allusions to certain characteristics of Spanish music as I know it. I chose seven poems, two of which form the corner stones of the set: Canción Primera and Canción Ultima, both sung by the female voices. They are offset by another poem, El Tren de los Heridos, which is for male voices only. The remaining four poems are sung by the whole choir. As the work was commissioned by a choir of skilled individuals, it was only natural to make use of sub-divisions where they would lead me into creating intricate textures and contrapuntal movement. More often than not, the choir is subdivided into twelve voices in an effort to broaden the fabric of the music and create extra depth and fluidity. In the process it also exploits the relationship between individual and collective. - JAN VRIEND