composer

Adriaansz, Peter

Peter Adriaansz werd in 1966 in Seattle (VS) geboren. Opleiding Hij studeerde orgel aan het Koninklijk Conservatorium in Den Haag bij o.a. Leo van Doesselaar, Bert Matter en Wim van Beek. Compositie ...

related works

Comfort : for orchestra, 2001, revision 2002 / Peter Adriaansz

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Wesendonk Lieder : 1857; bew. 2006 / bew. Geert van Keulen, Richard Wagner

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St. Louis Blues - Suite : 1995/1999 / libretto by Paul Binnerts, Chiel Meijering

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O, gij, rhinoceros : voor vier vocalisten en instrumentaal ensemble, 1977 / Otto Ketting

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composition

Chant ascendant : (Chants monotones part 4), for soprano (or two alternating sopranos) and ensemble, 1994/1995 / words: Jacques Prévert, adapted by composer, Peter Adriaansz

Publisher: Amsterdam: Donemus, 1996
Publisher's number: 09040
Genre: Vocal music
Subgenre: Voice and large ensemble; Vocal Ensemble (2-12) and large ensemble
Instruments: sopr/2sopr 1110 0000 2perc man g hp pf/cemb vl vla vc cb
Remarks: Instr. bez.: piccolo, hobo, klarinet, mandoline, gitaar, harp, 2 slagwerkers, piano (of klavecimbel), viool, altviool, cello en contrabas. - In opdracht van de N.P.S. voor het Nieuw Ensemble. - T.g.v. de Nederlandse Muziekdagen 1995. - Cop. 1996. - Tijdsduur: ca. 15'
Duration: 15'00"
Number of players: 14
Status: not yet digitized (expected delivery time 14 days)

Other authors:
Prevert, Jacques (librettist)
Description:
Program note (English): 'Chant ascendant' is the fourth and most virtuoso part of the cycle 'Chants monotones' and deals, as the title infers, with ascension. Its text is a free adaptation of Jacques Préverts 'Cortège' , in which a basically nonsensical and enumerative text is gradually unravelled, set to rhyme, forgotten and dissected until the only adjective (formerly disguised as noun) remains at the ending of the piece. The dramatics of the 'Chant ascendant' are entirely determined by the speed and manner of text-recitation. Technically it is an exercise in 5-part counterpoint. The cycle as a whole deals with various aspects of minimal change explored in a maximal manner. Main inspiration lies in the quasi-non-eventfulness of recitative, the ritual of repetition in the dramatics of textual enumeration and the desire to say the maximum with a minimum of material. 'The title Monotone' does not betray a desire to make boring music but, rather, to investigate the possibilities of static surfaces. -
PETER ADRIAANSZ

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