related works

24 capriccio's voor viool solo

Genre: Chamber music
Subgenre: Violin
Scoring: vl

Elementale : for six spatially-positioned percussionists, coordinated by a computer, 1991-1995 / Willem Boogman

Genre: Chamber music
Subgenre: Percussion; Electronics with different instruments; Percussion with multimedia
Scoring: 6perc computer

Amaga : is written for guitar, hawai-gitaar, bass-guitar plus the following techinal equipment: five loudspeaker-units, three amplifiers, one productmodulator and one amplitude-modulator / Misja Mengelberg

Genre: Chamber music
Subgenre: Guitar; Electronics with different instruments; Guitar with multimedia
Scoring: 2g g-b electronics

Majnun's lament : for alto flute or flute solo / Rokus de Groot ; [based on a taksim by Aziz Senol Filiz]

Genre: Chamber music
Subgenre: Flute
Scoring: fl-a/fl

composition

Dwaallicht : voor fluit en tape, 1995 / op tekst van Hans Faverey, Willem Jeths

Other authors:
Faverey, Hans (Text writer/Librettist)
Jeths, Willem (Composer)
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)