composer
Matthijs Vermeulen was born in Helmond on February 8, 1888. He died July 26, 1967 in Laren.
He studied in Amsterdam with Daniel de Lange (1907-1909) and Alphons Diepenbrock.
From 1909 to ...
related works
On ne passe pas : pour chant et piano, 1917 / Matthijs Vermeulen
Genre:
Vocal music
Subgenre:
Voice and piano
Scoring:
high pf
Ouverture Taufers : for orchestra / Julius Röntgen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2ob 2cl 2fg 4h 3trp 3trb tb timp 2perc str
Symfonie no. 1 : 1981 / Henk Stoop
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3323 4331 timp 4perc 2hp str
Endorphin Music : Concertino for symphony orchestra / Georgs Pelecis
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2ob 2cl 2fg 4h 2tpt trb-t trb-b tb timp perc str
composition
Symphonie no. 6 : Les minutes heureuses, sur la-do-re, en trois mouvements qui se succèdent sans interruption, 1956-1958 / Matthijs Vermeulen
Description:
Program note (English): The subtitle of the Symphony is part of the sentence from 'Le balcon', from the most perfect poem by Baudelaire. It reads: "Je sais l"art d"évoquer les minutes heureuses". During the entire composition this verse has coloured my thoughts. The givens la, do, re, which acts as a basis and constructive center of the architectural plan, was suggested to me by friendly fairy. The three chosen notes do not indicate only three tones and different musical proportions, but also play on everything from the physical to the metaphysical phenomena in which we live, our admiration, worship, adoration deserves. La, do, re are 'l'adoré', the devotee, in each conformation. The music of the 6th Symphony has been aimed, as my previous symphonies, to be exclusively positive. It has the same goal that all artists in earlier centuries confronted: the secret longing to awake and encourage, 'le feu sacré' (the divine spark), present in all people, imprisoned and with the hope of freedom. Through the
years I have become gradually aware that this double on positive and on sacred go against the major streams in the arts over the last forty years aim, but I became consciously aware that I, too, continue in this old tradition. From this point of view is the music from the 6th Symphony the opposite of modern. Purely seen from a technical aspect it is a logical continuation on the important achievements that arose a half century earlier from the great masters remaining an inheritance for the future time. And evidence that the royal path of the old tradition continues, on to the horizon. This has been my driving force. The metaphorical sense which the la, do, re had got, brought with that the inner movement of this symphony had develop as an upward linear line, which graphically could simply be indicated by the crescendo symbol. - MATTHIJS VERMEULEN