Straesser, Joep

Joep Straesser was born in Amsterdam on March 11, 1934. He died on September 22, 2004 in Loenersloot. Joep Straesser studied musicology from 1953 to 1955 at the University of Amsterdam.

related works

Tien vocale minuten : voor mezzosopraan en bas / [red. Michael Nieuwenhuizen]

Genre: Vocal music
Subgenre: Voice solo; Vocal Ensemble (2-12)
Instruments: sopr-m bas ; sopr-m ; bar ; bas

Sous le pont Mirabeau : pour soprano, contr'alto, flûte, harpe et quatuor à cordes (ou orchestre à cordes), 1936 (nouvelle revision 1944) / musique de Daniël Ruyneman, paroles de Guillaume Apollinaire

Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and instrument(s); Vocal Ensemble (2-12) and orchestra; Women and instrument(s); Female choir and orchestra
Instruments: sopr alt / VK2 fl hp 2vl vla vc / 1000 0000 hp str(vl vla vc)

Doppelgesang : für Tenor und Bariton mit Begleitung von Streichern, nach Paul Celans "Engführung", 1976/1977 / Jacques G. Goosen

Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and orchestra
Instruments: ten bar str(

Canzoni amorose del duecento : per soprano, baritono, pianoforte ed orchestra, (1972-'73) / Hans Henkemans

Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and orchestra
Instruments: sopr bar 3333 4000 timp perc hp pf str(



Musique pour l'homme : 1968 / Joep Straesser

Publisher: Amsterdam: Donemus, cop. 1968
Publisher's number: 06123
Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and orchestra
Instruments: sopr alt ten bas 4444 4441 5perc str(
Remarks: Voor sopraan, alt, tenor, bas en orkest. - Tekst: de Universele verklaring van de rechten van de mens. - In opdracht van de stad Amsterdam. - Tijdsduur: 25'-26'
Duration: 26'00"
Number of players: 4
Year of composition: 1968
Status: not yet digitized (expected delivery time 14 days)

Quartet I-Aria I-Quartet II
Duet I-Intermezzo I-Terzet-Intermezzo II-Duet II-Intermezzo III
Quartet III-Aria II-Quartet IV
Program note (English): There are 3 movements: in the first and third movement, attempts are made for a continuity of musical flow as large as possible. The various sections flow into one another and together they form a musical whole. In the second movement, as a contrast to the other two, an effort was made to achieve the maximum degree of non-continuity. The musical flow is, even within the various sections, constantly interrupted by pauses. The three Intermezzi, in which the voices are used instrumentally, are again interruptions between the various sections. It was not the composer's intention to "depict" the text. In the first place, the words are being used as sound material and are often split into syllables and so divided over the various voices. In both arias, the words are often split into very prolonged syllables (mostly vowels). Therefore, the text will not be very audible in the major part of the work. At certain moments however, typical key-words such as: "l'homme, femme, droit,
liberté" , or key-sentences such as: "tout individu a droit à la vie or nul ne sera soumis à la torture, ni à des peines ou traitements cruels" can be clearly understood. Perhaps one could make a comparison between this technique of composition and the endless stream of words by which our human existence is characterized and in which merely now and then a word can be heard that is worth listening to. - JOEP STRAESSER

Do you have interest in buying the sheet music of this work? Please let us know so we can digitize this work with priority without any obligation of you.