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
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
Nritta : orchestral dance / Ton de Leeuw
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
fl fl(pic) fl (fl-a) 2ob ob(eh) 2cl cl-b 2fg sax-a 4h 3trp 3trb tb timp 3-4perc hp pf(cel) str
Gieter : voor orkest, 1973 / Guus Janssen
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
2fl fl(pic) 2ob ob(eh) 2cl cl(cl-b) 2fg fg(cfg) sax-t 4h 3trp 3trb tb 2perc el.g pf str(12.10.8.6.4.)
Intro in Hollandse trant : voor orkest, opus 82, 1981 / Wolfgang Wijdeveld
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
2222 4231 timp 2perc str
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