related works

Intersections V-2 : bass clarinet, piano, 1975 / Joep Straesser

Genre: Chamber music
Subgenre: Clarinet and keyboard instrument
Scoring: cl-b pf

Cinq hymnes : for mixed choir, 2 pianos and percussion, 1987/88 / Ton de Leeuw

Genre: Vocal music
Subgenre: Mixed choir and instruments; Mixed choir
Scoring: GK4 2pf ; GK4 ; GK4 2pf 2perc ; GK6 ; GK4 2pf 2perc

Let Someone Carry Me : for mixed choir, clarinet, viola, double bass, oud and bajan / Calliope Tsoupaki; text Nisrine Mbarki

Genre: Vocal music
Subgenre: Mixed choir and instruments
Scoring: GK cl vla db out bajan

Cantate for a spring day : for soprano solo, mixed 16 part chorus and orchestra / Walter Hekster

Genre: Vocal music
Subgenre: Mixed choir and instruments
Scoring: sopr 4sopr 4alt 4ten 4 bas 2fl 2h 2trb 6fl 2vla cb prc

composition

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

Author(s):
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