composer

Wagemans, Peter-Jan

The music of Peter-Jan Wagemans is typical of the Rotterdam School, together with that of Otto Ketting and Klaas de Vries. In an interview with Emile Wennekes, Wagemans described the ...

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composition

Muziek II : (opus 10), for orchestra, (1977) / Peter-Jan Wagemans

Publisher: Amsterdam: Donemus, 1983
Publisher's number: 04236
Genre: Orchestra
Subgenre: Orchestra
Instruments: 3trp 2trb-t 2trb-t-b perc str(24.8.8.8.)
Remarks: Versie 1979. - In opdracht van de Nederlandse regering. - Cop. 1977. - Tijdsduur: ca. 28'
Duration: 28'00"
Status: fully digitized (real-time delivery)

Contains:
Allegro brutale, marcato
Allegro nervoso
Allegro moderato
Allegro cantando
Andante
Andante
Allegro molto, marcato
Description:
Program note (English): [Première: 20-10-1979 - Südwestfunk Orchestra, Ernest Bour, conducting] - The piece is made up of seven movements, of which 1 up to 3 and 4 up to 6 overflow in each other. It has been written in a long cantus firmus technique, where the proportion between cantus firmus and counterpoint is regulated differently in every movement. This cantus firmus technique can also be seen in the instrumentation: 3 trumpets and 4 trombones stand opposite to a permanently divided string section (6 first, 6 second, 6 third and 6 fourth violins, 4 first and 4 second violas, 4 first and 4 second celli and 8 double basses). The work is based on several ranges, which are only used in a modal manner, never in a strictly serial manner. A key melodic departure point is a 10-tone series, which is based on a 5-tone series. Most importantly, in the melodic and harmonic material, the root tone is present which serves as cantus firmus-tone. The 10-tone series is: D (root) - D# - E - F - F# - G# - A# - B -
C - C#. In the 5-tone series that arises here the tone D is not present; this can be placed therefore as ending tone (cantus firmus) against the series (counterpoint). This complete scheme can be transposed indefinitely; the interval relationship between the cantus firmus and its counterpoint however always the same. The harmonic departure point is the minor chord. This chord is “enriched” with tones from other minor triads which lay a half and a whole note above the departure triad. When these all sound together the 10-tone series arises. The root tone of all of this is the minor root tone of the first minor triad. The rhythmical material is based only on prime numbers. Large prime numbers stipulate the proportions within the form, small prime numbers the proportions within rhythm. The title 'Muziek' represents the attempt to find a 20th century counterpart to the 19th century symphony (Muziek I, written for large wind ensemble preceded in this in1974), therefore trying to find a
clear formal and emotional departure point and the continuing course, without attaining a in neo-romantic or avant-garde (also neo!) working method. The emotional starting point of 'Muziek II' is for me the most important - and most difficult describe - point of the piece. The first and last parts form together a direct emotional pace of darkness and captivity moving to light and freedom. They enclose five parts, which for me all have a certain mood, a mood as it were of the one that undertake the paths of part 1 up to part 7 - without ever becoming programme music. The history of the work's origins (encompassing the years 1975 to 979), and the history of its first performance are both stirring. The première in Donauschingen was the third attempt of an orchestra to premiere this very difficult work. The Dutch première was a month later, performed by the Residentie Orchestra. - P.-J. WAGEMANS

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Product Description Price/piece Count
Score Download (A3), 114 pages EUR 56.47
Hardcopy, normal size (A3), 114 pages EUR 112.95
Hardcopy, study size (A4), 114 pages EUR 75.70