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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
Scoring: sopr/2sopr 1110 0000 2perc man g hp pf/cemb vl vla vc cb

Spin : for soprano and ensemble, 1997-1998 / on words by Dylan Thomas, Astrid Kruisselbrink

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Des Knaben Wunderhorn : Version with nine songs / Gustav Mahler, arr. Dimitris Andrikopoulos

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Subgenre: Voice and large ensemble
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Wesendonk Lieder : 1857; bew. 2006 / bew. Geert van Keulen, Richard Wagner

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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
Scoring: 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
Year of composition: 1995
Status: not yet digitized (expected delivery time 14 days)

Other authors:
Prevert, Jacques (Text writer/Librettist)
Adriaansz, Peter (Composer)
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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