related works
Collected Chamber Music / ed. by Odilia Vermeulen & Ton Braas, Matthijs Vermeulen
Genre:
Chamber music
Subgenre:
Cello and keyboard instrument; Violin and keyboard instrument; String quartet (2 violins, viola, cello); String trio (violin, viola, cello)
Scoring:
vc pf ; vl pf ; vl vla vc ; 2vl vla vc
Prologo sinfonico per un spettacolo magico : per orchestra / Willem Strietman
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
pic 2fl 2ob eh 2cl cl-b 2fg cfg 4h 3trp 3trb tb 5perc pf/cel hp str
Poème Héroique : for orchestra / Godefroid Devreese
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
picc 2fl 2ob eh 2cl 2fg cfg 4h 3tpt 2trb-ten trb-bass bar tb bass timp perc hp str
Comfort : for orchestra, 2001, revision 2002 / Peter Adriaansz
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
4454 4451 timp 6perc pf str(16.14.12.12.8.)
composition
Symphonie no. 7 : Dithyrambes pour les temps à venir, 1963-1965 / Matthijs Vermeulen
Author(s):
Vermeulen, Matthijs
(Composer)
Description:
Program note (English): I am not using the word 'dithyramb' as the literary term of the ancient Greeks, but in the widest sense as any song of joy of any form and intonation, such as profane, sacral, lyrical, phrenetic, wild, gentle, enthusiastic and in every gradation thereof, including the playful. (...) The place of the action of the 7th Symphonie is a traditional podium which the listener can, at will, imagine as an ancient open-air theatre, a spectacular historical square with good acoustic properties where various pieces of music join together for the celebration of a festival. It could in fact take place in this way. A group constantly steps out from the orchestra, plays its part which can have very varying dimensions, returns again and it followed by another. The groups are sometimes contrasting, sometimes supplement one another, are sometimes rousing, sometimes tempering, always in keeping with the psychology of the circumstances which changes very often, but which can, from the beginning, be
characterized as a striving of one-ness to many-ness, to the generality which comes about at the end. The 7th Symphonie has about forty such episodes, not counting those which differ merely by nuance. The basis of the construction of this symphony, just as of my previous works, is the cantus firmus. Placed on paper, that melodic line resembles an immense solo, moving in all positions, from the highest to the lowest, and it serves me as an architectonic plan. - MATTHIJS VERMEULEN