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 ...

related works

Symphonie no. 4 : Les victoires, 1940-1941 / Matthijs Vermeulen

Genre: Orchestra
Subgenre: Orchestra
Instruments: 2fl 2fl(pic) 3ob 3h ob-bar 5cl 3fg cfg 2sax 4h 4trp 3trb tb 2timp 4perc str

Passage : for orchestra / Frédéric Devreese

Genre: Orchestra
Subgenre: Orchestra
Instruments: picc 2fl 2ob 2cl 2fg cfg 4h 3tpt 3trb tb timp perc hp pf(cel) str

Naima suite : for orchestra, 1986 / Theo Loevendie

Genre: Orchestra
Subgenre: Orchestra
Instruments: pic 2fl 2ob eh 2cl cl(cl-b) sax-a 2 fg cfg 4h 2trp 2trp(pic) tb timp 3perc hp pf(cel) str

Himmelen : for orchestra / Klas Torstensson

Genre: Orchestra
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composition

Symphonie no. 7 : Dithyrambes pour les temps à venir, 1963-1965 / Matthijs Vermeulen

Publisher: Amsterdam: Donemus, 1997
Publisher's number: 04264
Genre: Orchestra
Subgenre: Orchestra
Instruments: 2fl(pic) 2fpic 2ob 2ob(eh) 2cl(pic) 2cl cl-b 3fg cfg sax-a 4h trp-p 3trp 3 trb tb 2timp 5perc cel 2hp str
Remarks: Voor orkest. - Uitg. met financiële steun van het Prins Bernhard Fonds. - Cop. 1965. - Tijdsduur: ca. 18'
Duration: 18'00"
Status: fully digitized (real-time delivery)

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

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