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

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Palace : for ensemble, 2000 / Bart de Kemp

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Some terrible secret : for bass clarinet and marimba, 1997 / Jacques Bank

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composition

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
Year of composition: 1987
Status: fully digitized (real-time delivery)

Description:
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 to Newzik (B4), 16 pages EUR 13.28
Download as PDF (B4), 16 pages EUR 15.94
Hardcopy, normal size (B4), 16 pages EUR 26.57
Hardcopy, study size (A4), 16 pages EUR 21.80