related works

Five close-ups : (based on a twelve ton [sic] row by Pierre Boulez), for piano, 1960/61, revised: December 1973 / Joep Straesser

Genre: Chamber music
Subgenre: Piano
Scoring: pf

Fortuna : voor kamerkoor en 4 instrumentalisten, 1986, rev. 1987 / Paul Termos

Genre: Vocal music
Subgenre: Mixed choir and instruments
Scoring: 6sopr 6alt 6ten 6bas fl(picc) hp vl vc

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
Scoring: bar 4sopr 4alt 4ten 4bas rec-a

De sjimpansee doet niet mee : voor 2 tot 4 vrouwenstemmen, 1 mannenstem en blaassextet / Wim Dirriwachter; op gedichten van Paul van Ostaijen

Genre: Vocal music
Subgenre: Mixed choir and instruments
Scoring: GK fl ob cl fg tpt trb

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