composer

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

Symphony for strings : (2nd symphony), 1989 / Joep Straesser

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Double sur cors et cordes : pour clarinette basse et orchestre de chambre, 1978/1984 / Geert van Keulen

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Scaramuccia : for clarinet and orchestra, 1969 / Theo Loevendie

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Concerto for three clarinets and chamber ensemble : 2005 / Guus Janssen

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composition

Signals and echoes : for 11 players and bass clarinet solo, 1982 / Joep Straesser

Publisher: Amsterdam: Donemus, cop. 1982
Publisher's number: 06277
Genre: Orchestra
Subgenre: Clarinet and large ensemble
Instruments: fl ob cl h trp perc pf vl vla vc cb cl-b-solo
Remarks: Voor basklarinet solo, fluit, hobo, klarinet, hoorn, trompet, viool, altviool, cello, contrabas, piano en slagwerker. - Opgedragen aan Ton Hartsuiker en het Ensemble M. - Tijdsduur: 11'-12'
Duration: 11'00"
Number of players: 12
Status: fully digitized (real-time delivery)

Description:
Program note (English): (Première: October 3, 1982 - Harry Sparnaay and Ensemble M, David Porcelijn, conducting). - Signals and Echoes have been built from some ten different musical materials, of which most have a signal-like character. In addition to these signal motives the piece contains two 'melodies' and ostinato working in several conformations. The piece is divided in ten sections of which the first up to and including the fourth section forms the first movement; the fifth up to and including the eighth the second movement and the ninth and tenth the third movement. In the first two sections the material is completely exposed; in the rest of the piece variations constantly take place. The bass clarinet which acts as a 'sort' of soloist (the piece has not been meant to be a concerto!) has received a special role; acting as an 'informant', a 'trendsetter', who works on and delivers the subject to the ensemble. Sometimes however the ensemble is quicker and the soloist runs behind the facts; in
short is there talk of a certain form of dialectic between soloist and ensemble. A very special manner of treatment of the musical material applies to the whole work, except for two 'melodies'. This special treatment is indicated in the title of the piece with used of the word 'echoes'. Each given that it is brought up leads immediately to an echo impact in other instruments and sometimes even, as in section 9, where in the ' Coda con candenza ', the same instruments play their own echoes. Again it is here where the bass clarinet introduces this 'new discovery', strings with piano and percussion follow with this gesture. The manner of composing is quite different to the way I composed in earlier in my career. Advanced planning lacks entirely; the composing process appears to develop from a certain idea, a chosen departure point without a clear-cut idea in advance. The 'language' of the piece is formed in the process, and of course classifies and leads to new consequences. For me an
adventurous and captivating way of working. Here'shoping that Signals and Echoes will also be captivating to the listener! JOEP STRAESSER

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