composer
Roderik de Man was born in Bandung, Indonesia, on May 23 1941.
Education: Roderik studied percussion with Frans van der Kraan and Theory of Music at the Royal Coservatory in The ...
related works
Ecoute, écoute! : for bass clarinet and sound tracks, 1999 / Roderik de Man
Genre:
Chamber music
Subgenre:
Clarinet; Electronics with different instruments; Clarinet with electronics
Scoring:
cl-b tape
Vorst aan de grond : (2000), for two carillons, ringing bells and two audio tracks / René Uijlenhoet
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-11 players); Electronics with different instruments; Mixed ensemble (2-11 players) with electronics
Scoring:
, for two carillons, ringing bells and two audio tracks
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-11 players); Electronics with different instruments; Mixed ensemble (2-11 players) with electronics
Scoring:
3perc g vl electronics
Alter-natives : for Zwaanenburg alto-flute, live electronics and tape, 1990 / David Little
Genre:
Chamber music
Subgenre:
Flute; Electronics with different instruments; Flute with electronics
Scoring:
Zwaanenburg fl-a tape electronics
composition
Gramvousa : for flute, bass clarinet, piano and tape, 1995 / Roderik de Man
Description:
Program note (English): When Het Trio commissioned me to write a piece with tape for them, I was reading a book by Tim Severin, The Ulysses Voyage, which gives a detailed reconstruction of Ulysses' travels. The title Gramvousa is the name of a small island which is situated at the north-western tip of Crete. In Homer's Odyssey this location plays an important role. Not only is it the home of Aeolus, the God of Winds, it is also the point of departure for the long and dangerous voyage to Ithaca. I have been on this island, and found it remarkable that on a quiet and clear day, enormous gusts of wind would suddenly erupt and then disappear as unexpectedly as they had come. The resemblance between the situation described above and the feeling a composer may have receiving a commission for a new composition struck me. When commencing upon a new work the composer is sent on a journey of uncertain destination; many unexpected events may take place during composing, especially in the case of working with
electronic means. Once the piece has been completed, however, the roles are reversed. Now the musicians are sent on a sometimes hazardous journey and will have to discover how to reach their (musical) destination. This atmosphere was instrumental in the choice of material for the tape. Practically all sounds were derived from flute, bass clarinet and piano, and the tape part was realized in the composers' studio. I wish the musicians and audience "Bon Voyage". RODERIK DE MAN