composer
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
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
4454 4451 timp 6perc pf str(16.14.12.12.8.)
1494 : for voice and instrumental ensemble, 1992-1993 / Kim Bowman
Genre:
Vocal music
Subgenre:
Voice and large ensemble; Voice and orchestra
Instruments:
sopr(perc) 1001 2200 2perc hp pf vl vla vc cb / sopr(perc) 1001 2200 2perc hp pf str
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
Genre:
Vocal music
Subgenre:
Voice and large ensemble; Electronics and singing voice(s) with or without instrument(s)
Instruments:
recit 1111 1210 perc pf(cel) 2vl vla vc cb tape
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