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

Points of contact I : for tenor recorder, marimba and some percussion, 1987 / Joep Straesser

Genre: Chamber music
Subgenre: Mixed ensemble (2-11 players)
Instruments: rec-t perc

Sonate : pour clarinette et piano, 1936 / Daniel Ruyneman

Genre: Chamber music
Subgenre: Clarinet and keyboard instrument
Instruments: cl pf

Kleine suite : (vocalises), voor sopraan en piano, opus 47, 1952 / Marius Flothuis

Genre: Chamber music
Subgenre: Voice and piano; Oboe and keyboard instrument; Clarinet and keyboard instrument; Saxophone and keyboard instrument; Trumpet and keyboard instrument
Instruments: sopr/ob/cl/sax-s/trp pf

Collage nr. 8 voor 2 musici : basclarinet, piano, 1966 / Otto Ketting

Genre: Chamber music
Subgenre: Clarinet and keyboard instrument
Instruments: cl-b pf

 

composition

Intersections V-2 : bass clarinet, piano, 1975 / Joep Straesser

Publisher: Amsterdam: Donemus, cop. 1975
Publisher's number: 01762
Genre: Chamber music
Subgenre: Clarinet and keyboard instrument
Instruments: cl-b pf
Remarks: Opgedragen aan Hans Georg Strässer. - Tijdsduur: ca. 7'-8'
Duration: 8'00"
Number of players: 2
Status: fully digitized (real-time delivery)

Description:
Program note (English): (Premiere: 8-9-1975 - Como - Fusion Moderne). Tempo is the predominant factor on arranging the material on which the series Intersections V, V-I and V-2 is based. There are five tempos in these pieces, ranging from extremely slow to extremely fast (main tempos), each of which is divided into a number of sub-tempos. The main tempos are consequently more or less "elastic" and can be seen as tempo zones. The sub-tempos create a finer rhythmical distribution within a tempo zone. These five main tempos, together with their sub-tempos, can be put to different rhythmical effects and given different vertical densities, i.e. the number of voices uses simultaneously. In V and V-1 the density ranges from two to four voices, and in V-2 from one to seven. Rhythmically, the following situations occur: homophony (all voices at the same tempo), poly-homophony (combination of pairs of homophonous voices at differing main and/or sub-tempos), polyphony + homophony (one homophonous pair of voices
combined with polyphonic voices), and complete polyphony.
The nature of the scorings demands that these underlying principles should be interpreted differently in some respects. As already stated, four parts are naturally the maximum in V and V-1, and seven parts the maximum in V-2 (the piano has great vertical possibilities). In V and V-1 the accent therefore necessarily falls on a markedly horizontal method of composing in which combinations of main tempos occur in addition to combinations of sub-tempos. In V-2 there are no combinations of differing main tempos; the combinations of various sub-tempos within one tempo zone are more subtly elaborated. The fairly rigorous organization of the tempos and their sub-divisions made it possible for the composer to organize the components of pitch and degrees of intensity in a looser way; in addition it can be remarked that in the progressive verticality of V-2 there are accumulations of intervals which display a tendency to diminish, proceeding from bottom to top. The general shape of the pieces
varies: V and V-1 comprise three parts, each of which lasts about four minutes; V-2 comprises five relatively short pieces. In all three works, however, specific tempo characteristics predominate in each part. - JOEP STRAESSER

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Score Download (A3), 16 pages EUR 15.80
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