composer

Boogman, Willem

General: Willem Boogman was born in 1955 and grew up near the IJssel river (Netherlands). Education: Willem Boogman studied Philosophy at the University of Utrecht (1974-1975). He started study in composition ...

related works

Album : for piccolo (solo and various instruments) / W. Boogman, V. Lann, N. McGowan, P-J. van Rossum, C. Rumondor, A. Segall, B. Spaan; Initiated and edited by Ilonka Kolthof

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Instruments: picc / picc elec / picc pf / picc mar

Bruuks : voor klein ensemble, 1985 / Guus Janssen

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: 1020 sax 0110 2perc hp pf vl vc cb

Canto de trabalho : for wind instruments, double bass and piano, 1982 / Amilcar Vasques Dias

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: 1000 3sax 1230 pf cb

Zip : voor ensemble, 1989 / Chiel Meijering

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: 0020 sax-a 0100 (perc ad lib.) pf 4vl 2vc 2cb

 

composition

Axis / Ashes : for ensemble, 2005-2006 / Willem Boogman

Publisher: Amsterdam: Donemus, cop. 2007
Publisher's number: 11407
Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: fl 3sax h 3trp 3trb pf cb
Remarks: Voor fluit, 3 saxofoons, hoorn, 2 trompetten, 3 trombones, piano en contrabas. - In opdracht van het Fonds voor de Scheppende Toonkunst en Orkest De Volharding. - Opgedragen aan Anthony Fiumara. - Tijdsduur: ca. 16'
Duration: 16'00"
Number of players: 13
Year of composition: 2006
Status: fully digitized (real-time delivery)

Description:
Program note (English): Axis/Ashes consists mainly of rotations. But the music begins and ends with a 'flame' - in any case, this is what I have called the blaze of tones, with which the piece begins - , referring to the ancient Greek belief that the centre of the cosmos and the earth is fire. That led to the choice of the title for the composition. ...Clouds and rotations have one thing in common with harmony: they involve the blending of sounds. In Axis/Ashes the instrumentalists are positioned spatially, surrounding the audience. This arrangement is essential to the realisation of the effect of the sound's motion. But consequently the orchestra becomes fragmented and the individual sound characteristics of each individual instrument are clearly audible. Mixing the sounds harmonically is no longer feasible, but rotation and cloudlike structuring mix the sounds in the way sugar dissolves when stirred into coffee. In Axis/Ashes the music is likewise dissolved and dispersed. At times one will observe
remnants of melodic, harmonic or rhythmic forms. It goes without saying that this dispersion is not an end in itself. Something that no longer entirely exists can still become something complete again, but unlike what it was before - and we are there, more or less, to witness it. That is my music - Willem Boogman

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