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

Chamberconcerto nr. 2 : symphonic variations on four different minor seconds, for harp and chamber orchestra, 1992/93 / Joep Straesser

Genre: Orchestra
Subgenre: Harp and orchestra
Instruments: 2232 2200 timp 2perc str hp-solo

Flea : for 10 instrumentalists, 1979 / Johan de Boer

Genre: Chamber music
Subgenre: Mixed ensemble (2-11 players)
Instruments: fl ob cl perc pf 2vl vla vc cb

Gestures : (1981), originally written for a low range instrument and a keyboard instrument / arrangement for bass clarinet and accordion ensemble (1986) by Bernard van Beurden, Daan Manneke

Genre: Chamber music
Subgenre: Mixed ensemble (2-11 players)
Instruments: cl-b 8acc 2acc-b

MM Blues : for two pianos and percussion, 1999 / Hanna Kulenty

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



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

Publisher: Amsterdam: Donemus, cop. 1987
Publisher's number: 04202
Genre: Chamber music
Subgenre: Mixed ensemble (2-11 players)
Instruments: rec-t perc
Remarks: Opgedragen aan Keiko Abe en Walter van Hauwe. - Tijdsduur: 11'
Duration: 11'00"
Number of players: 2
Status: fully digitized (real-time delivery)

Program note (English): "Points of contact I" for tenor recorder, marimba and some small percussion instruments (high cymbal, triangle and small Chinese gong) was specially composed for the Japanese percussionist Keiko Abe, and the Dutch recorder player Walter van Hauwe.
The title of the work indicates a special compositional technique, through which the musical parts repeatedly make points of contact, and then drift apart again. These points of contact are musically stressed in different degrees, varying from "almost unnoticed, casual" to "explicit and with strong, expressive effect". Beside the above-mentioned musical characteristic, there is another important starting point. The whole work's music is derived from two short motifs: the first, with which the piece starts, has the major seventh and the perfect fourth as characteristic intervals, heard in a dotted rhythm and a figure of repeated tones, slowing down on the final note.
The second motif, which comes into being during the first section, and sounds "in all its glory" at its end, consists of a minor second and a minor third - the combination forming a major third -, while rhythmically it is less succinct and more flexible than the first motif.
The following sections 2 to 5 are alternately based on motif 1 or 2, resulting in a kind of "indirect" dialectics, or, as one might say, "dialectics from a distance". In the sixth section, both motifs are played off against one another - direct dialectics! -, and in the seventh section both motifs melt together in a recorder solo, supported by some strikes of the Chinese gong. In the eighth and last section, the role of both motifs is over. All that remains is a fast musical motion, a virtuoso duet for recorder and marimba, with only one strike of the gong, which ends the work. Tenor recorder and marimba are treated as equals, and they supply most of the music in the piece. The other three percussion instruments' task is to join the different sections into larger units. The cymbal joins sections 1 to 4, the triangle sections 5 and 6, the gong sections 7 and 8. - JOEP STRAESSER

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Product Description Price/piece Count
Score Download (B4), 16 pages EUR 13.28
Hardcopy, normal size (B4), 16 pages EUR 26.57
Hardcopy, study size (A4), 16 pages EUR 21.80