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

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

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

John Clare : for tenor and 15 instruments, 2000/2001 / text: John Clare, Jacques Bank

Genre: Vocal music
Subgenre: Voice and large ensemble
Instruments: ten 1121 1110 perc pf 2vl vla vc cb

Caliban Sings (Three Songs from William Shakespeare's The Tempest) : Version for mezzo-soprano and ensemble / Elmer Schönberger; lyrics from William Shakespeare's The Tempest

Genre: Vocal music
Subgenre: Voice and large ensemble
Instruments: mezzo fl/picc/fl-a cl/cl-b h perc hp pf 2vln vla vc db

Zápisník Zmizelého : = Tagebuch eines Verschollenen (1917-1919), für Tenor, Alt, drei Frauenstimmen und Ensemble, 1999 / bearb.: Geert van Keulen, Leos Janácek

Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and large ensemble
Instruments: alt ten female voices (2sopr alt) 2fl(pic) ob eh(ob) cl fg cfg 2h 2trp 2trb perc cel(harm) hp 2vl vla vc cb

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

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