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

Neue Niederländische Klaviermusik : = Contemporary Dutch piano music, Heft 1 = Book 1 / mit Werken von = containing works by J. Andriessen, R. du Bois, G. Janssen ... [et al.], herausgegeben von = edited by Ton Hartsuiker

Genre: Chamber music
Subgenre: Piano
Scoring: pf

Musica : per flauto, oboe e clarinetto, opus 27, (1973) / Hendrik de Regt

Genre: Chamber music
Subgenre: Wood Wind ensemble (2-8 players)
Scoring: fl ob cl

Athena Keramitis : for contrabass flute and bass clarinet, 1985 / Jan Vriend

Genre: Chamber music
Subgenre: Wood Wind ensemble (2-8 players)
Scoring: fl-cb cl-b

Fuga VII : per flauto, clarinetto e fagotto / Ernest W. Mulder

Genre: Chamber music
Subgenre: Wood Wind ensemble (2-8 players)
Scoring: fl cl fg

composition

Intersections V-1 : quatuor d'anches, 1977 / Joep Straesser

Description:
Program note (English): 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