Eisma, Will

Will Eisma was born on May 13, 1929 at Sungailiat (Indonesia). In 1946 Eisma came to The Netherlands. From 1948 to 1953 he studied violin with Jewsey Wulf and Oscar Back ...

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Worksongs / Will Eisma

Genre: Chamber music
Subgenre: Variable instrumentation

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Subgenre: Large ensemble (12 or more players)
Instruments: fl cl sax-s sax-a trp 2h 2trb tb g g-b pf perc

Sinterklaas bestaat niet : in memoriam W.F. Hermans, voor ensemble, 1996 / Hans Koolmees

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
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Cassation : voor blazers, harp, celesta en slagwerk, 1983 / Herman Strategier

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Instruments: 0022 2221 timp 2perc cel hp



Diaphora : per 15 archi, cembalo, marimbaphone e batteria / Will Eisma

Publisher: Amsterdam: Donemus, cop. 1964
Publisher's number: 07649
Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: 0000 0000 4perc mar cemb 8vl 4vla 2vc cb
Remarks: Voor 8 violen, 4 altviolen, 2 cello's, contrabas, 4 slagwerkers, marimba en klavecimbel. - In opdracht van de stad Dortmund t.g.v. de Auslands-kulturtage, die in 1964 aan Nederland waren gewijd.. - Jaar van comp.: 1964. - Tijdsduur: ca. 13'
Duration: 13'00"
Number of players: 21
Year of composition: 1964
Status: fully digitized (real-time delivery)

Spectra I
Spectra II
Program note (English): Diaphora literally means 'distinction with regard to the repetition of the same word with a different meaning'. In this composition, motifs and tone series from an earlier composition were used and placed in a different light. The title, however, also refers to the first and third movements: both are based on the same chord formations and thematic complexes. A characteristic feature throughout the composition is the repeated curbing of a specific motion. For example in the first part: turbulent string figures alternate with sections that seem to stand still in time. In the second movement, a solo violin begins with a theme, followed by a violoncello, a second violin and a viola. After some bars, the motion becomes rigid, with long held chords, only slightly coloured by an accent or a tone shifting. After about twenty bars, the music is set in motion again, and gradually themes start shifting on top of each other. Then again there is a curbing with long-held chords. The third
movement has a slow introduction, consisting of twice a percussion solo followed by 'crescendo' figures in the strings. The fast section that follows is curbed once more, then seems to proceed, undisturbed, towards the end. - WILL EISMA

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