composer

Vermeulen, Matthijs

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 ...

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composition

Symphonie no. 6 : Les minutes heureuses, sur la-do-re, en trois mouvements qui se succèdent sans interruption, 1956-1958 / Matthijs Vermeulen

Publisher: Amsterdam: Donemus, 1997
Publisher's number: 04263
Genre: Orchestra
Subgenre: Orchestra
Instruments: 2fl 2fl(pic) 3ob eh 3cl cl-b sax-s sax-a 3fg cfg 4h 4trp 3trb tb 2timp 2perc 2hp str
Remarks: Voor orkest. - Uitg. met financiële steun van het Prins Bernhard Fonds en het Amsterdams Fonds voor de Kunst. - Cop. 1959. - Tijdsduur: ca. 25'
Duration: 25'00"
Status: fully digitized (real-time delivery)

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

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