Hamel, Micha

Micha Hamel was born on July 8, 1970. Education: In 1994, Hamel graduated in the majors composition (with Diderik Wagenaar) and conducting (with Ed Spanjaard) at the Royal Conservatory in The ...

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Triptyque : for baritone and piano, 2002 / poems by Guillaume Apollinaire, Micha Hamel

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Subgenre: Voice and piano
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St. Louis Blues : opera in 4 akten, 1994 / Chiel Meijering; libretto Paul Binnerts

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Scoring: 3sopr 4ten 2010 2sax 1121 perc el.g g-b pf

De grens (full version) : Chamber opera in two scenes / Jan-Peter de Graaff, libretto Yuri Robbers

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Requiem : for tenor, actor and ensemble; opus 37 / Micha Hamel

Publisher's number: 12380
Genre: Opera, musical theatre
Subgenre: Opera
Scoring: ten pf fl(picc) bfl(shakuhachi) sax-s(sax-a) trb(tb) vl kemence perc 2hp org
Remarks: Dedicated to myself. to the part of me that died.
Duration: 75'00"
Year of composition: 2010-2012
Status: fully digitized (real-time delivery)

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.

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