related works
Triptyque : for bass and piano, 2002 / poems by Guillaume Apollinaire, Micha Hamel
	
			Genre: 
		
		Vocal music
	
			Subgenre: 
		
		Voice and piano
	
			Scoring: 
		
		bas pf
	
Ritratto : Opera / Willem Jeths; libretto Frank Siera
	
			Genre: 
		
		Opera, musical theatre
	
			Subgenre: 
		
		Opera
	
			Scoring: 
		
		zang GK cl fg h timp 2perc hp pf str
	
Die Grosse Katharina (Great Catherine) : Opera / Ignace Lilien
	
			Genre: 
		
		Opera, musical theatre
	
			Subgenre: 
		
		Opera
	
	
			Genre: 
		
		Opera, musical theatre
	
			Subgenre: 
		
		Opera
	
			Scoring: 
		
		8soloists 3332 2sax 5332 5perc cel 2hp el.g cemb el.org pf str(vl vla vc)
	
composition
				Requiem : for tenor, actor and ensemble; opus 37 / Micha Hamel
			
					
										Other authors:
									
									
									Hamel, Micha
									(Composer)
								
							
							Description:
						
						
						Dedicated to myself. to the part of me that died.
Fragments are the only forms I trust (Donald Barthelme)
A damn good funeral is still one of our best and cheapest acts of theatre (Gwyn Thomas)
Requiem was composed on the request of Godelieve Schrama, who asked me to write a chamber piece for her and any number of players. It was commissioned by Pierre Audi for the Holland Festival2012. The commission was granted by the Fonds Podiumkunsten.
The Requiem was composed to take place in a special space: the medium sized church "de Duif" in Amsterdam, Netherlands. All registrations for the organ are based on the instru-ment to be found there, which is a romantic organ with three keyboards plus pedals. Also, all the directions for the positions in the space are to be understood to be appropriate and valid for that very space. Might the piece be performed in the future, an other space will surely require new decisions in order to stage it well. The people responsible are kindly asked to find all possible solutions to accomodate it in the most practical manner, though respecting the poetics of the piece.
The score includes only the parts that are composed in the notational sense of the word. During the rehearsals, various improvised fragments have been developed and inserted or superimposed to complete the piece. These fragments are deliberately not written in the score to maintain and reinforce the open character of the piece. For the afterlife of the piece, this is unpractical. since it makes its preservance frail and its identity inexact. if not obscure. This however is to be understood as a metaphor; the piece, like life itself. decomposing after its performance.