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
Dramatische ouverture : voor orkest, Amsterdam, juni 1953 / R. Colaço Osorio-Swaab
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 4331 timp 2perc hp str
Keer : for orchestra, 1988 / Guus Janssen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl 2fl(pic) 2ob 2cl cl-b 2fg cfg 6h 3trp 2trb trb-b tb timp 3perc 2hp str
In memoriam : voor orkest / Israel Olman
Genre:
Orchestra
Subgenre:
Orchestra
composition
Symphonie no. 7 : Dithyrambes pour les temps à venir, 1963-1965 / Matthijs Vermeulen
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