related works
Fusion à six : symphonic music for string quartet, bass clarinet and piano, 1980 / Joep Straesser
Genre:
Chamber music
Subgenre:
Wind and string and keyboard instrument(s)
Scoring:
cl-b 2vl vla vc pf
Henric van Veldeke : voor orkest, zang en declamatie / Herman Strategier
Genre:
Vocal music
Subgenre:
Vocal ensemble (2-12) and orchestra; Speaking voice and orchestra
Scoring:
bar(recit) 2recit 2222 4330 timp perc cel hp str
Genre:
Vocal music
Subgenre:
Vocal ensemble (2-12) and instrument(s); Vocal ensemble (2-12) and orchestra
Scoring:
sopr bar fl cl pf 2vl vla vc cb / sopr bar 1010 0000 pf str
Genre:
Vocal music
Subgenre:
Vocal ensemble (2-12) and orchestra
Scoring:
sopr sopr-m bar fl fl(pic) ob ob(eh) cl (cl-b) fg fg(cfg) 4h 2trp 3trb tb hp pf(cel) timp 2perc str
composition
Musique pour l'homme : 1968 / Joep Straesser
Other authors:
Straesser, Joep
(Composer)
Contains:
Quartet I-Aria I-Quartet II
Duet I-Intermezzo I-Terzet-Intermezzo II-Duet II-Intermezzo III
Quartet III-Aria II-Quartet IV
Description:
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