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

Neue Niederländische Klaviermusik : = Contemporary Dutch piano music, Heft 1 = Book 1 / mit Werken von = containing works by J. Andriessen, R. du Bois, G. Janssen ... [et al.], herausgegeben von = edited by Ton Hartsuiker

Genre: Chamber music
Subgenre: Piano
Instruments: pf

en nergens Bach : = (Och ingenstans Bach), voor koor en ensemble, 1996-1997 / 3 gedichten van Lars Gustafsson, Elmer Schönberger

Genre: Vocal music
Subgenre: Mixed choir and instruments
Instruments: GK4 trp 2perc vl 2hp pf(cemb cel) sampler

Put me on my bike nr. 1 : for solo-baritone, recorder (alto), mixed choir (16 singers), based on the last words (put me on my bike) supposed to have been said by the English cyclist Tom Simpson before he died near the top of the Mont Ventoux in France, Amsterdam 1971 / Jacques Bank

Genre: Vocal music
Subgenre: Mixed choir and instruments
Instruments: bar 4sopr 4alt 4ten 4bas rec-a

Missa brevis : op. 25, voor vierstemmig koor en blazersensemble, juli/augustus 1969 / W.F. Bon

Genre: Vocal music
Subgenre: Mixed choir and instruments
Instruments: GK4 pic fl ob cl fg h trp trb tb

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 (librettist)
Kellogg, Frank Billings (librettist)
Marlowe, Christopher (librettist)
Milton, John (1608-1674) (librettist)
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