composer
Willem Boogman was born in 1955 and grew up near the river IJssel (Netherlands). He studied Philosophy at the University of Utrecht for a year (1974-1975). Then he went to ...
related works
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
4sopr 4alt 4ten 4bas
Aula novis gaudet : voor kamerkoor en 15 instrumentalisten, 1988 / Herman Strategier
Genre:
Vocal music
Subgenre:
Mixed choir and large ensemble
Scoring:
GK4 1111 1000 perc 4vl 2vla 2vc cb
Three times : mixed choir, orchestra, 1974 / Daniel Manneke
Genre:
Vocal music
Subgenre:
Mixed choir and large ensemble
Scoring:
GK4 1110 0220 3perc 2vl 2vla 2vc cb
Genre:
Vocal music
Subgenre:
Mixed choir and large ensemble
Scoring:
GK4 1000 3sax 1330 pf cb
composition
La disciplina dei sentimenti : per strumenti, coro doppio e parte parlata, 1981-1989 / libretto di Exsilio~, Willem Boogman
Other authors:
Exsilio
(librettist)
Description:
Program note (English): (Première: 17-12-1993 - Vredenburg, Utrecht - Charlotte Riedijk, speaking voice - ASKO Ensemble, ASKO Choir, Marc Foster, conducting) - The origin of La disciplina dei sentimenti is in the period 1980-1983. I was at that time linked to the Asko workshop: a group of musicians and composers. It was my training as a composer. The tie to the music practice and the benefit of speculation gave to me in those years the tools and the skills with which I would utilize in composition in the future. In 1981, at my request unfinished fragments by the poet Exsilio~ of his la disciplina dei sentimenti (1979-1980) were created into new text, which served as a departure point for this composition. More than all the impressions which I acquired during the Asko workshops, the new musical concepts are drawn from this text. In the text keeping things together at all costs is the subject without inventing a plot. This also is going on in the music. The compositional departure point has been that
music is continuous, never returning to a previous point or ending at a predictable point. To obtain this progression in musical drama it was necessary work with extremely differentiated musical elements. In my opinion one is unable to grasp the real effect of these elements when they are categorised in a system or method where sooner or later they lose their musical strength. I want to allow the elements to be more free and independent then the case has been in the dodecaphony or in serialism and doing so creating the possibility that each is mobilised element, at each moment, conveys and transports the progress of the music - WILLEM BOOGMAN