composer

Straesser, Joep

Joep Straesser was born in Amsterdam on March 11, 1934. He died on September 22, 2004 in Loenersloot. Joep Straesser studied musicology from 1953 to 1955 at the University of Amsterdam.

related works

Symphony for strings : (2nd symphony), 1989 / Joep Straesser

Genre: Orchestra
Subgenre: String orchestra
Instruments: str

Reminiscentie I : voor strijkkwintet, 1982 / Roland Voortman

Genre: Chamber music
Subgenre: Other combinations of string
Instruments: 2vl 2vla vc

Trio : per due violine e violoncello, (1970-'71) / Berend Giltay

Genre: Chamber music
Subgenre: Other combinations of string
Instruments: 2vl vc

Klein protocol : voor viool en cello / Will Eisma

Genre: Chamber music
Subgenre: Other combinations of string
Instruments: vl vc

 

composition

Duplum : 1977 / version for violin and violoncello (1985), Joep Straesser

Publisher: Amsterdam: Donemus, cop. 1978
Publisher's number: 01334
Genre: Chamber music
Subgenre: Other combinations of string
Instruments: vl vc
Remarks: Er bestaan meer versies van dit werk. - Opgedragen aan Tadashi Tanaka. - Tijdsduur: ca. 9'
Duration: 9'00"
Number of players: 2
Status: fully digitized (real-time delivery)

Description:
Program note (English): 'Duplum' could be compared with a story about two persons searching for a way of living together they like the best. In this piece the moments of total agreement are symbolized by the 'perfect fifth' interval which has a magic effect in this a-tonal environment. 'Duplum' consists of four sections in which both partners try to realize a total agreement.
The first section starts with a reasonable amount of agreement which yields a 'perfect fifth' (a-e") already after five bars; hereafter however the partners go drifting apart. For once, quasi by change, a 'perfect fifth' (c sharp-g sharp) is created. Hereafter the violoncello takes a new initiative as an introduction to the second section.

This section starts with a great amount of agreement between both partners. Rhythmically a rapid simultaneous movement - 'thirds' and 'sixths' in the consonance, but the 'perfect fifth' fails to come even after new material has been introduced. Then suddenly the 'fifth' turns up twice (c" - g" and b' - f' sharp) and a new possibility looms up: the real dialogue!

The third section starts with an "open dialogue" between the two partners with many 'perfect fifths' - there is a great amount of agreement - and yet it turns out that even this is not the right way: the music deforms more and more, 'perfect fifths' disappear, augmented 'fourths' increase. For a while it seems as if agreement is achieved, but again it becomes a failure.
The violoncello takes the initiative for the second time (fourth section) and starts with a very turbulent solo in which "his" 'perfect fifths' (open strings C - G - d - a) resound with increasing clarity. From a certain moment the recorder (violin) can strike up with a complete "free" melody - the point of departure is movable - aleatorics! - in which also 'perfect fifths' are present (g - d' - a' -e"). Just now the personal freedom of both is the greatest, the amount of agreement between them appears to be at the most! Passing on to each other they disappear into the sunny landscape. - JOEP STRAESSER

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Score Download (B4), 16 pages EUR 13.28
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