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

Drie liederen op Duitse tekst : (Li Tai Po, Thu-Fu, Otto Julius Bierbaum), voor mezzosopraan en instrumentaal ensemble, 1927 / instrumentatie: Joep Straesser, 1986, Henriëtte Bosmans

Genre: Vocal music
Subgenre: Voice and instrument(s)
Instruments: sopr-m fl ob cl fg h perc hp vl vla vc cb

Triptych : for solo bassoon and percussionist, 1990, revision 1996 / Bernard van Beurden

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

Litany : opus 64, for bass clarinet and marimba, 1987 / Jo van den Booren

Genre: Chamber music
Subgenre: Mixed ensemble (2-11 players)
Instruments: cl-b mar

Musica : per 6 strumenti a fiato e clavicembalo, opus 26, (1973) / Hendrik de Regt

Genre: Chamber music
Subgenre: Mixed ensemble (2-11 players)
Instruments: 2fl 2cl 2fg 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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