composer

Vriend, Jan

From the start, Jan Vriend has been a musical omnivore who combines a strongly modernistic approach with openness to the interests of and needs for a good musical education. ...

related works

Elements of logic : IV - 72 / Jos Kunst & Jan Vriend

Genre: Orchestra
Subgenre: Wind ensemble (9 or more players)
Instruments: 5076 9sax 6002

Le vrai visage de la paix : for chamber choir, 1953, (revision 1957) / text by Paul Eluard, Rudolf Escher

Genre: Vocal music
Subgenre: Mixed choir
Instruments: GK4

O zuyderste lucht : for mixed choir, 2003 / text: Antonis ten Roovere, Calliope Tsoupaki

Genre: Vocal music
Subgenre: Mixed choir
Instruments: GK4

Herbstlieder : for mixed choir a cappella, 1989 / texts by Rainer-Maria Rilke, Carlos Micháns

Genre: Vocal music
Subgenre: Mixed choir
Instruments: GK8

 

composition

Entre el olivo y el hombre : for mixed choir a cappella, 2001 / lyrics by Miguel Hernández, Jan Vriend

Publisher: Amsterdam: Muziek Centrum Nederland, 2011
Publisher's number: 10713
Genre: Vocal music
Subgenre: Mixed choir
Instruments: GK4
Remarks: Min. aantal stemmen: 6.5.5.5. - Met financiële steun van het Fonds voor de Scheppende Toonkunst. - Op verzoek van het Nederlands Kamerkoor. - Tekst met Engelse vert. apart afgedrukt. - Met voorw. uitsluitend in het Engels. - Jaar van comp. volgens koptitel: 2002. - Cop., Donemus, 2003
Duration: 35'00"
Status: fully digitized (real-time delivery)

Other authors:
Hernandez, Miguel (librettist)
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

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Score Download (A4), 140 pages EUR 45.00
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