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

Motetus : (quasi in modo antico), for six-part a cappella choir, 1987 / Joep Straesser

Genre: Vocal music
Subgenre: Mixed choir
Instruments: GK6

Drie-in-één : muziek voor 4 kleine harpen, kleine harp-solo, cello en kleine harp, 1981 / Andries de Braal

Genre: Chamber music
Subgenre: Mixed ensemble (2-11 players); Harp
Instruments: 4hp / hp / vc hp

Scarlattiana : 6de Torenmuziek, voor beiaard, 4 trompetten en 3 trombones, 2003 / Wim Franken

Genre: Chamber music
Subgenre: Mixed ensemble (2-11 players)
Instruments: 4trp 3trb car

Zoek : version for piccolo, harpsichord, violin, clarinet (B-flat) and violoncello, 1993/1998 / Guus Janssen

Genre: Chamber music
Subgenre: Mixed ensemble (2-11 players); Wind and string and key instrument(s)
Instruments: pic cl vl vc cemb

 

composition

Encounters : bass clarinet, percussion, 1973, second version 1975 / Joep Straesser

Publisher: Amsterdam: Donemus, cop. 1973
Publisher's number: 03213
Genre: Chamber music
Subgenre: Mixed ensemble (2-11 players)
Instruments: cl-b 6perc(pf)
Remarks: Voor basklarinet en 6 slagwerkers. - Opgedragen aan Harry Sparnaay en Hubert Soudant. - Met financiële steun van de stad Amsterdam. - Tijdsduur: ca. 12'
Duration: 12'00"
Number of players: 7
Year of composition: 1973
Status: not yet digitized (expected delivery time 14 days)

Description:
Program note (English): In order to understand the intention of this piece, for which various interpretations are possible according to the differences in mental inclination and musicality of the audience, ears, not eyes are needed. The piece should not be read, but listened to. Contrary to the listener, the reader can determine his own tempo and reread a fragment. Therefore new pieces should be performed several times, either at the same concert or at the following one, so that the listener once again hears the piece. When it is a good piece (composer's activity) and the listener gradually succeeds in following the musical mental process (listener's activity), he will have conquered a new world; communication will have taken place. And only then listeners can explain the piece to one another bringing out the different paths they have found in the musical landscape. In this confrontation the composer can function as listener. - JOEP STRAESSER

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