composer

Jeths, Willem

General: Willem Jeths was born on August 31, 1959 in Amersfoort, The Netherlands.  Education: Jeths started his musical career as a child with piano and music theory lessons in the Music School of Amersfoort ...

related works

24 capriccio's voor viool solo

Genre: Chamber music
Subgenre: Violin
Instruments: vl

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Genre: Orchestra
Subgenre: Orchestra
Instruments: 3332 3330 timp 4perc pf str

Overture : for orchestra / Mateo Soto

Genre: Orchestra
Subgenre: Orchestra
Instruments: 2fl 2ob 2cl 2fg 4h 2tpt 2trb trb-b tmp 3perc str

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Subgenre: Orchestra
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composition

Procurans odium : per orchestra, 1984 / Willem Jeths

Publisher: Amsterdam: Donemus, cop. 1984
Publisher's number: 04337
Genre: Orchestra
Subgenre: Orchestra
Instruments: 2fl 2ob 2cl cl-b 4h 2trp 3trb tb timp perc hp str
Remarks: Opgedragen aan Maaike Hoogesteijn. - Tijdsduur: ca. 7'
Duration: 7'00"
Status: fully digitized (real-time delivery)

Description:
Program note (English): The piece has been based on conductus from the Notre Dame school (12th century). The title of the conductus is Procurans odium and means hatred of cherishment; the lowest voice of this three-voiced conductus is initially a trouvère-melody by Blondel de Nesle. The text, which although is not used in my piece, comes from the Carmina Burana and means: "to hate cherishment in itself will hardly evoke the bad sense of wrongdoers. The heart is entwined by that same angriness. If I, on the other hand recognise no enemy, then the means which creates this happy situation will be found". In my composition I have used striking characteristics of this conductus as starting points. These are: unison (entirely carried back to unison melody of Blondel de Nesle) leading to another unison. Canon techniques arise from "Stimmtausch", i.e. the verticality rises from horizontality; in my piece much canon technique occurs. The triple meter, and throughout the work a ternary rhythm observed. The
composition opens with a very low and narrow conductus by three solo double basses, serving as a reference. This citation undergoes a melodic and therefore also harmonious (Stimmtausch) transformation; the melody of Blondel de Nesle becomes chromatic. This transformation takes place in 3 solo-celli, while double basses on the other hand continue simply with the original conductus. Later only a melodic rudiment, which is rhythmically pressed into each other, becomes the basis of a canonical sound field. Above the sound field is a chorale (wood and brass), vertically inferred by the deformed trouvère melody. This leads to a climax. Reaching a climax by means of crescendo, is a further given which returns in the course of the piece. Just as the sound field, a very abstracted form of canon technique. The unison-givens used following the climax in viola and violoncello, is also a returning given. Above the unison-given (first time) are themselves smaller block systems of sound fields,
which again are canonically used and lead each time and to a climax. In short in Procurans odium the givens - sound fields, unison, crescendo - are set against each other, whereas everything has risen from a pure trouvère-melody, which at the end is returned to its old glory. - WILLEM JETHS

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Product Description Price/piece Count
Score Download (A3), 24 pages EUR 19.12
Hardcopy, normal size (A3), 24 pages EUR 38.25
Hardcopy, study size (A4), 24 pages EUR 26.20