related works

Duplum : for tenor recorder and violoncello, 1977 (revision 1986) / Joep Straesser

Genre: Chamber music
Subgenre: Wind and string instrument(s)
Scoring: rec-t vc

Dying roses : for mixed choir, oboe, 2 trumpets, organ and percussion, (1987) / René Pieper

Genre: Vocal music
Subgenre: Mixed choir and instruments
Scoring: GK5 ob 2trp 3perc org

Mirabel : scènes imaginaires dans un village abandonné, pour grande flûte (aussi flûte basse ad libitum) et douze voix, 1980 / Jo van den Booren

Genre: Vocal music
Subgenre: Vocal ensemble (2-12) and instrument(s); Mixed choir and instruments
Scoring: 3sopr 3alt 3ten 3bas fl(fl-b ad lib.)

De klucht van Pierlala : voor kamerkoor en 4 fagotten, 1994 / [18e eeuwse tekst, van onbekende dichter], Antoon Maessen

Genre: Vocal music
Subgenre: Mixed choir and instruments
Scoring: GK4 4fg

composition

Intervals II : (Music on war and peace), for mezzo soprano solo, mixed choir and instruments, 1979 / Joep Straesser

Other authors:
Goethe, Johann Wolfgang von (Text writer/Librettist)
Kellogg, Frank Billings (Text writer/Librettist)
Marlowe, Christopher (Text writer/Librettist)
Milton, John (1608-1674) (Text writer/Librettist)
Straesser, Joep (Composer)
Description:
Program note (English): The basic material for "Intervals II" is, as far as the organization of pitch is concerned, formed by definite intervals. Unlike "Intervals I" , in which the several parts are characterized by different intervals, in "Intervals II" two basic nuclei formed the starting point for the whole work: a minor and a major second. These two intervals, which for that matter also occur separately, are combined into larger unities. With regard to rhythm, the nucleus short-long plays an important role throughout the work, side by side with the freer rhythmical structures and rhythm derived from the English word accent. This item (short-long) is immediately introduced by the choir in the opening of part I. The degree of complexity of the music is gradually increased in the course of part I, II and III. In the final part of III, elements from the endings of the first two parts are combined, by which in a sense the first three parts end as one unity. The fourth part is meant as a real
'Schlusschor' as they are found traditionally in Bachs cantatas, among others. - JOEP STRAESSER