composer

Baaren, Kees van

In his youth, Kees van Baaren played jazz and accompanied the Kabarett der Unmöglichen [Cabaret of the Impossible] to support himself. His great inspiration at the time was the jazz ...

related works

The hollow men : voor sopraan- en baritonsolo, gemengd koor en orkest, 1948/55 / [tekst] (T.S. Eliot), [2nd version 1955], Kees van Baaren

Genre: Vocal music
Subgenre: Mixed choir and orchestra
Instruments: sopr bar GK4 3333 4331 timp perc str

Gloria : per coro misto e orchestra, 1976 / (versione senza organo-solo: 1979), Marius Monnikendam

Genre: Vocal music
Subgenre: Mixed choir and orchestra
Instruments: GK4 2222 4331 timp 4perc str

De minnedeuntjes : nov. '66-mei 1967, gecomponeerd voor gemengd koor en (kamer-)orkest / [tekst] van Joost van den Vondel, Piet Ketting

Genre: Vocal music
Subgenre: Mixed choir and orchestra
Instruments: GK4 3230 2110 timp perc vibr hp pf str

Joseph : oratorio, 1745 / ed. by Robert L. Tusler, Willem de Fesch

Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and orchestra; Mixed choir and orchestra
Instruments: soloists GK4 2220 0200 str bc

 

composition

The hollow men : 1948 / [tekst] T.S. Eliot, Kees van Baaren

Publisher: Amsterdam: Donemus, cop. 1949
Publisher's number: 06994
Genre: Vocal music
Subgenre: Mixed choir and orchestra
Instruments: sopr bar GK4 2fl 2ob 2cl 2fg 2h 2trp timp perc str
Remarks: Voor soli SBr, koor SATB en orkest. - Opgedragen aan het Sodalicium Studiosorum Musicum "J. Pzn. Sweelinck". - Tijdsduur: 25'
Duration: 25'00"
Year of composition: 1948
Status: fully digitized (real-time delivery)

Other authors:
Eliot, T.S. (librettist)
Contains:
Moderato
Lento
Adagio
Allegro molto
Tempo di marcia
Description:
Program note (English): Genuine poetry can communicate before it's understood.
It is very well possible to transform this statement by T.S. Eliot to: Genuine poetry can be set to music before it's understood.
The number of restrictions applying to the original needs no further extension. In the modified form the aphorism means that certain, purely poetic elements of a poem - consonance, rhythm and the affective weight of the word - on the basis that it is stipulated with purely musical elements of a composition and its common appeal to conscious groups which lie outside the range of the reason, in every way is a sufficient creative incentive for the composer. To 'understand' in the traditional sense of the word, means to transform the poem's contents to terms and by means of these terms, determine the poet's 'intentions', and therefore composition is by no means done in advance. (One does not take it in spite, when we, although this wanders from the point, notice that such understanding has no need to effect composing...)
We have rather broadly dwelled on a composer's conceivable attitude to the poetry with the sole aim of showing that which Eliot states regarding the poetic contact, preceding the understanding to yet a stronger degree in the combined poetic-musical contact.
The cultural and critical background of the poem's context is not of the essence as the consequences derived and developed when listening to the The Hollow Men.
The music consists of six parts: a short instrumental preludium and five poems composed separately from each other. The material motivation can be summarised in a range of six tones, which (with an exact repetition of three tones higher) form a series, containing all twelve tones of the chromatic scale. The working method shows, however no important points of similarity with Arnold Schönberg's 12-tone technique. - KEES VAN BAAREN

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