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

Kindertotenlieder : für Kammerensemble und Stimme, 2003 / bearbeitet von Geert van Keulen, Gustav Mahler

Genre: Vocal music
Subgenre: Voice and large ensemble
Instruments: sopr fl ob eh cl cl-b 2fg 2h perc hp 2vl vla vc cb

Three Shakespeare songs : for mezzo-soprano and instrumental ensemble, 1994-1995 / Ton de Leeuw ; on texts by William Shakespeare

Genre: Vocal music
Subgenre: Voice and large ensemble
Instruments: sopr-m fl(pi,fl-a) ob cl sax 2h 2trb 2perc hp pf(synth, glock) 2vl 2vla 2vc

Het gevecht : voor bas/bariton, instrumentaal ensemble en tape, 1978, revisie 1993 / muziek: Wim Laman, tekst: Armando

Genre: Vocal music
Subgenre: Voice and large ensemble; Electronics and singing voice(s) with or without instrument(s)
Instruments: bas-bar 1020 1110 2perc hp cemb(cel pf) vl vla vc 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