composer

Holt, Simeon ten

Simeon ten Holt was born in Bergen on January 24, 1923. He studied piano and theory with Jakob van Domselaer (1890-1960). In 1949 he moved to Paris where he received lessons ...

related works

Canto Ostinato : voor toetsinstrumenten, 1976-79 / Simeon ten Holt

Genre: Chamber music
Subgenre: Piano
Instruments: 4pf

Volkslied : 1971, voor ongelimiteerd aantal en soort instrumenten (in alle octaven) / tekst Jacq Firmin Vogelaar, Louis Andriessen

Genre: Chamber music
Subgenre: Variable instrumentation; Mixed choir and instruments; Voice and instrument(s)
Instruments: GK/voice instr

NL Real Book (voor C-instrumenten) / ed.: Walter van de Leur ; Maarten van der Grinten ; Michael Moore et al.

Genre: Chamber music
Subgenre: Variable instrumentation
Instruments: variabel

Awakening : C version : Bb version : Eb version / Oene van Geel

Genre: Chamber music
Subgenre: Variable instrumentation

 

composition

Incantatie IV : voor toetsinstrumenten = for keyboard instruments, 1987-'90 / Simeon ten Holt

Publisher: Amsterdam: Donemus, 2007
Publisher's number: 06312
Genre: Chamber music
Subgenre: Variable instrumentation
Instruments: variable
Remarks: Voor 5 instrumenten. - Voorw. tevens in het Duits, Frans en Engels. - Tijdsduur: afhankelijk van het aantal herhalingen. - Cop. 1991
Number of players: 5
Status: fully digitized (real-time delivery)

Description:
Program note (English): The musical procedure can be compared to the multi-coloured printing of an engraving. One colour after another is applied, just as in this score the parts (the layers) are added or removed one after another. Every layer is equalty important and alternately acquire the status of main issue and side issue, of dominating and yielding, of primary colour and secondary colour, of solo and tacet (...). It should be clear that, in Incantatie IV, we are dealing with a score that takes place in the domain lying between notated and improvised music. This means that the player not only plays when he has notes or that the remains silent when he has nothing written to play at that moment. The multiplicity of the notation (for example, rhythmic) indicates that each individual layer is receptive to, for example, doubling, or multiple unisons, wheter as principle colouring or as relief. - SIMEON TEN HOLT

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