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composition

The Laws of Science No. 2 : for 2 timpani and orchestra / JacobTV - Jacob Ter Veldhuis

Publisher: Amsterdam: Donemus, 1998
Publisher's number: 09385
Genre: Orchestra
Subgenre: Percussion and orchestra
Scoring: 2222 2200 perc str timp-solo
Remarks: The Laws of Science No.2 is a mini concerto for two timpani and orchestra. It composed in November 1994 for and dedicated to the Driebergen Chamber Orchestra, conducted by Dirkjan Horringa. Its premiere took place on March 18 1995, in Driebergen NL. Soloist was Nicolaas Dusseldorp.
Duration: 5'00"
Year of composition: 1994
Status: fully digitized (real-time delivery)

Other authors:
Veldhuis, Jacob ter (Composer)
Description:
The composition is derived from a section of the electronic work from 1992, which is based on statements by British physicist Stephen Hawking. Hawking is often regarded as the Einstein of our time. His ideas about God, cosmos, time and space are as fascinating as they are controversial:
“God would not have had any freedom to chose how the universe began. Instead, I would use the term 'god' as the embodiment of the laws of science. We are such insignificant creaturen on a minor placet of a very average star on the outer suburbs of one of a hunderd-thousand-million galaxies... So it is difficult to believe in a god that would care about us if he even noticed our existence.”
The certainty with which Hawking makes his statements is further emphasised by the fact that—almost completely paralysed and unable to speak—he communicated through a speech synthesizer that sounded like the voice of a robot.

Timpani are perhaps the most "certain" instruments in the orchestra: Timpani never "doubt" and always sound very decisive, like scientific axioms. Could it be that science is so fixated on itself that its practitioners, like Hawking, focus more on the laws of science than—what seems more logical to me—the exploration of the laws of nature? Hawking even goes so far as to regard "the laws of science" as a metaphor for God. In this mini concerto I wanted to musically depict the dogmatic and simultaneously contradictory nature of this, to me, tragicomic title.

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