Vlijmen, Jan van

Jan van Vlijmen writes chamber music, operas, songs and orchestral works. His compositions are strongly influenced by the serial music of Arnold Schoenberg. He is also attracted to the sumptuous ...

related works

Choeurs : quatre choeurs de Thyeste, pour un choeur de chambre et plusieurs instruments, 1999, révision 2003 / texte: Hugo Claus, Jan van Vlijmen

Genre: Vocal music
Subgenre: Mixed choir and large ensemble
Instruments: GK4 fl-a cl-b h 2perc hp man g 2vl vla vc cb

Dans van de pianojuf : voor viool, klarinet en piano, 1991 / Jacques Bank

Genre: Chamber music
Subgenre: Wind and string and key instrument(s)
Instruments: cl vl pf

Trio : flauto, violoncello, pianoforte, 1976 / Andries de Braal

Genre: Chamber music
Subgenre: Wind and string and key instrument(s)
Instruments: fl vc pf

Quatuor : for clarinet, violin, violoncello and piano, 1960 / Matty Niël

Genre: Chamber music
Subgenre: Wind and string and key instrument(s)
Instruments: cl pf vl vc



Nonet : 1985 / Jan van Vlijmen

Publisher: Amsterdam: Donemus, cop. 1985
Publisher's number: 02355
Genre: Chamber music
Subgenre: Wind and string and key instrument(s)
Instruments: fl(fl-a) cl cl-b 2vl vla vc cb pf
Remarks: Voor fluit (tevens altfluit), klarinet, basklarinet, piano, 2 violen, altviool, cello en contrabas. - In opdracht van het Fonds voor de Scheppende Toonkunst. - Opgedragen aan Ronald en Laurens Schoenberg en het Schönberg Ensemble. - Tijdsduur: ca. 30'
Duration: 33'00"
Number of players: 9
Year of composition: 1985
Status: fully digitized (real-time delivery)

Program note (English): Although this work, stylistically spoken, has not the least affinity with Schönberg's style of composition, there are nevertheless points of contact with certain compositional aspects of the work of this pioneer of the Second Viennese School.
First of all the ensemble's formation: in fact a kind of common denominator of the instrumentations of 'Pierrot Lunaire', the 'Serenade' (1923) and the 'Suite' (1925), which finds its actual continuation in the Schönberg Ensemble's basic formation, and calls to mind the characteristic tone-colour (now classic) of the 'Verein für musikalische Privataufführungen'.

In the second place my working method fits in with Schönberg's compositional technique in that sense that I do not hesitate either to base my working method upon the so-called serial technique. Just like in my other works from the last decade, the basis is a 12-tone series. I apply this technique, however, in a way contrary to the generally known Schönbergian principles. One could speak of a working method in which combinations of tone-groups consisting of 1, 2, 3, 4, 5, 6 and 7 tones (consequently borrowed from the original twelve-tone series) are grouped thus, that a series of 28 tones arises (the sum of the numbers 1 through 7). It is essential here that as a result of my method the non-equivalence of the tones is achieved, so contrary to what dodecaphony aims at the development of a system in which the equivalence of the chromatic scale's 12 tones is secured.

In other words, there is once again a form of mutual hierarchy between the tones, with more or less strong reference points as the audible result. This working method can in fact be regarded -and here lies the paradox - as a variation of conventional systems of composition: e.g., traditional harmony is a typical example of a hierarchically built technique of composition.
'Nonet' consists of seven movements. Movements I, III, V and VII can be regarded as principal parts, with movements II, IV and VI (three very fast scherzi for the full ensemble) linking them. Each of the four principal movements has its own character and colour, established by the instruments dominating in it: in movement I viola and cello, in movement III flute, bass clarinet and second violin, in movement V clarinet and double bass. In movement VII the violin dominates in such a way that the listener is reminded of a miniature violin concerto; moreover, this section is an accumulation of elements from the preceding movements. - JAN VAN VLIJMEN

If you are going to perform this composition, you can enter your concert information here. We will publish this information at the Donemus Facebook page and in the Donemus Concert Agenda.
You can buy the parts or other related products on-line. If you choose a downloadable product you will receive the product in digital form. In all other cases the product is sent to you physically. Please note that you require a copy of this product for every user.
Product Description Price/piece Count
Score Download to Newzik (B4), 118 pages EUR 47.45
Download as PDF (B4), 118 pages EUR 56.94
Hardcopy, normal size (B4), 118 pages EUR 94.91
Hardcopy, study size (A4), 118 pages EUR 77.90
Rental Parts Download to Newzik (B4), 228 pages EUR 84.30
Download as PDF (B4), 228 pages EUR 101.16
Hardcopy, normal size (B4), 228 pages EUR 168.61
You can rent this work by purchasing a rental license for one or more performances. If you buy a license you also need to buy 1 copy of the rental parts (see above). For each performance you need to obtain a rental license. More information about renting is available at the Donemus website. Please contact Donemus Publishing if you have any questions about renting before buying a license.
Number of performances
Total license costs
Live broadcast
If the work is being recorded for a live radio or TV broadcast or internet stream you can easily acquire the license for this. Any broadcast within 1 year of the recording of the work is defined as a 'live' broadcast. For every broadcast you need to obtain a license.
Audio broadcast (radio, internet)
Total license costs
Video broadcast (TV, streaming)
Total license costs
CD/DVD recordings
If you want to record this work to CD or DVD you can acquire a license here. For every title you need to obtain a license.
CD/DVD titles
Total license costs