composer
Rieteke Hölscher (1969) studied piano classical music and jazz / pop at the conservatory of the Amsterdamse Hogeschool voor de Kunsten (1987-1992) with Frans van Dalen and Tine Schneider, also ...
related works
Eigen-wijsje Nº 2 (Wildlife) : for piano / Rieteke Hölscher
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
Blip : for bassoon and string quartet / Chiel Meijering
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players)
Scoring:
fg 2vn vla vc
Oath 2 : for marimba and string orchestra / Alexey Sioumak
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players)
Scoring:
mar str
Music for strings, harp and marimba / Robert Groslot
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players)
Scoring:
mar hrp 2vl vla vc db
composition
Frames (Omlijstingen) : for oboe, violin, violoncello and piano (and optional video) / Rieteke Hölscher
Contains:
Auto / Car (for oboe) (3’30”
Via Dolorosa (for oboe and violoncello) (4’30”)
De strijd tegen het water / The battle against water (for oboe, violoncello and piano) (2’50”)
Meutes / Packs (for oboe, violin, violoncello and piano) (3’)
Hollandse Gouden eeuw / Dutch Golden Age (for violin, violoncello and piano) (2’15”)
Reset (for violin and piano) (3’)
‘Naar Juan Gris’ / ‘After Juan Gris’ (for piano) (2’15”).
Description:
In cooperation with the Dutch painter Wim Janssen I wrote seven frames as a musical response to seven series of paintings with the same title. The instrumentation first increases and then decreases, like a musical crescendo and diminuendo. The compositions were written spontaneous and in an intuitive way. Especially 'Via Dolorosa' and 'Reset' are very topical subjects in 2016, they successively imagine the forced eviction of failed asylum seekers, and the 'coloring' of Dutch society by the large influx of immigrants.
The series 'Car' illustrates the experience of a car driver in the Netherlands, 'The battle against the water' gives an impression of the sea threatening in ancient Holland, 'Packs' shows the power of large crowds. In the series 'Dutch Golden Age' both Janssen and myself were inspired by the old masters in both visual and musical ways. 'After Juan Gris' is a response to the cubistic period of the Spanish painter Juan Gris. Janssen created a number of still lifes with percussion instruments instead of the traditional violins and guitars. Musically I translated the still lifes of percussion into piano music.
Rieteke Hölscher