composer

Wisse, Jan

Jan Wisse received commissions from BRT (Belgium), Radio Hilversum, WDR Köln and RSI Lugano. His compositions are performed by Dutch radio choirs and orchestras conducted by Paul Hupperts, Karel Mengelberg, ...

related works

De rat : monodrama voor tenor en kamerensemble, 1988 / libretto: Jean Paul Franssens, Jan Wisse

Genre: Opera, musical theatre
Subgenre: Musical
Scoring: ten cl(cl-b) fg perc pf(cel synth) vl tape

Entropie : voor orkest / Xander Hunfeld

Genre: Orchestra
Subgenre: Orchestra
Scoring: 2fl fl-a 3ob(eh) 3cl 3fg 4h 3tpt 3trb tb perc str

Irish symphony : in four movements, for orchestra, 1990 / Rudi Martinus van Dijk

Genre: Orchestra
Subgenre: Orchestra
Scoring: 4343 4331 timp 4perc cel hp pf 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

 

composition

Sette aforismi : per orchestra da camera / Jan Wisse

Publisher: Amsterdam: Donemus, cop. 1959
Publisher's number: 04590
Genre: Orchestra
Subgenre: Orchestra
Scoring: 2fl 2ob 2cl 2fg 2h 2trp str
Remarks: Opgedragen aan Leonce Gras. - Jaar van comp.: 1956. - Tijdsduur: 3'
Duration: 3'00"
Year of composition: 1956
Status: fully digitized (real-time delivery)

Contains:
Molto adagio
Prestissimo possible
Andante
Allegro
Andantino
Vivace
Largo
Description:
Program note (English): '...those who believe that tones alone express something worthwhile.'
One could call Sette aforismi a material exploration. Departure point was taking an existing twelve-tone range (the range which lies at the basis of Schönbergs Suite op. 25) and further imposing the restriction to a Mozart instrumentation as requested by the commissioners. The intention was to take the different conformations on which the tonal range is based through the changing horizontal and vertical positioning, characterising as concise a form as possible. (Things take place within minutes). Upon realisation the length, strength and color are free, and therefore not used, as in serial music, a priori arranged factors, but exclusively for the closer characterisation and outline of those conformations. Furthermore, the Sette aforismi is not different than any other legitimate work which borrows from the auditive tensions which arise from material structure: nothing different than music. - JAN WISSE

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