related works

Album : for piccolo (solo and various instruments) / W. Boogman, V. Lann, N. McGowan, P-J. van Rossum, C. Rumondor, A. Segall, B. Spaan; Initiated and edited by Ilonka Kolthof

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Scoring: picc / picc elec / picc pf / picc mar

Desiderata (Part I) : for mezzo-soprano, mixed choir and ensemble / Rijndert van Woudenberg; poem by Max Ehrmann

Genre: Vocal music
Subgenre: Mixed choir and large ensemble
Scoring: zang GK fl cl perc hp pf str

Insónia : for 2 sopranos, choir and ensemble / Jan van de Putte; lyrics by Álvaro de Campos (Fernando Pessoa)

Genre: Vocal music
Subgenre: Mixed choir and large ensemble
Scoring: 2sopr GK4 2fl(picc/fl-a) ob(eh) 2cl(cl-b/cl-cb) fg(cfg) 2h trp trb tb 3perc cymb acc pf/harm hp 2vln vla vc cb

Luctor et emergo : gedeelten uit het oratorium De vloed in klank, voor kamerkoor, mannenkoor, koperensemble en 2 orgels, 1984/1996 / tekst: A. de Vigny, H. Marsman, M. Revis, Wim Franken

Genre: Vocal music
Subgenre: Mixed choir and large ensemble; Male choir and large ensemble
Scoring: GK4 MK4 0000 4331 2org

composition

La disciplina dei sentimenti : per strumenti, coro doppio e parte parlata, 1981-1989 / libretto di Exsilio~, Willem Boogman

Other authors:
Exsilio (Text writer/Librettist)
Boogman, Willem (Composer)
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