composer
Willem Jeths was born on August 31, 1959 in Amersfoort, The Netherlands.
Education: Jeths started his musical career as a child with piano and music theory lessons in the Music School of Amersfoort with ...
related works
24 capriccio's voor viool solo
Genre:
Chamber music
Subgenre:
Violin
Scoring:
vl
Genre:
Chamber music
Subgenre:
Oboe; Electronics with different instruments; Hobo with electronics
Scoring:
ob electronics
Vorst aan de grond : (2000), for two carillons, ringing bells and two audio tracks / René Uijlenhoet
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-11 players); Electronics with different instruments; Mixed ensemble (2-11 players) with electronics
Scoring:
, for two carillons, ringing bells and two audio tracks
Message : for piano and tape, 1994 / Simon Burgers
Genre:
Chamber music
Subgenre:
Piano; Electronics with different instruments; Piano with electronics
Scoring:
pf tape
composition
Dwaallicht : voor fluit en tape, 1995 / op tekst van Hans Faverey, Willem Jeths
Other authors:
Faverey, Hans
(librettist)
Description:
Program note (English): Dwaallicht's point of departure is the dichotomy between Near and Far, the estrangement from oneself and from others. The flutist is seduced, as it were, by an object from which sampled flute notes draw her near. Here the flute symbolizes pure love. Dwaallicht's construction centres on continual attraction and repulsion. This area of tension elicits unmistakable associations with erotic tensions.
In Dwaallicht the flutist recites two poems by Hans Faverey. They reflect the performance's underlying theme: the struggle between gnawing doubt and the eventual inevitability of answering the trusted appeal of a stranger. The first poem, additionally, provides the raw material: the perfect fifth.
Dwaallicht is based for a large part on an accumulation of perfect fifths, without containing actual tonal elements as such. At the climax of play between flute and objet d'art, fifths are heaped upon fifths until the construction (on tape) nearly bursts its seams. The flute answers frantically with rapid technical figures and extreme leaps. As the tape's tower of fifths eventually implodes, the flute beats a shy retreat.
The object, designed by the artist Petra Mol, contains two small loudspeakers from which the taped samples emerge. The object is illuminated throughout the performance according to a meticulously devised lighting plan. The work can, however, be performed without the object d'art. - WILLEM JETHS (transl.: Jonathan Reeder)