2014
Liefde een woning, nr 3
24 11 14 Filed in: concerts
The first performance of ›Liefde een woning, nr 3‹ (›Love, a home‹) for 12 female voices from the cycle of madrigals ›Canto gioiosamente‹.
On poems by Sandra Macrander
On poems by Sandra Macrander
Sternenrest in Festival Musica Sacra
11 09 14 Filed in: concerts
The eighth performance of Sternenrest will take place on September 20, 2014, 22:00 during the Festival Musica Sacra Maastricht.
Sternenrest fits perfectly into the theme of this year's festival: awe-inspiring!
›How is it that, through the workings of our brain, we can form a picture of our actions and our place in the immeasurable cosmos? The fact that we are increasingly better equipped to chart that cosmos, macro and micro, does little to diminish our realisation that we are only a tiny part of an overwhelmingly large universe.‹
Again the performers are Olaf Tarenkeen - electric guitar, Arnold Marinissen - percussion of glass and Spectra Ensemble. Sound direction by Casper Schipper.
I'm really looking forward to the performance in this beautiful context!
Sternenrest fits perfectly into the theme of this year's festival: awe-inspiring!
›How is it that, through the workings of our brain, we can form a picture of our actions and our place in the immeasurable cosmos? The fact that we are increasingly better equipped to chart that cosmos, macro and micro, does little to diminish our realisation that we are only a tiny part of an overwhelmingly large universe.‹
Again the performers are Olaf Tarenkeen - electric guitar, Arnold Marinissen - percussion of glass and Spectra Ensemble. Sound direction by Casper Schipper.
I'm really looking forward to the performance in this beautiful context!
Anterotikon (incidental music)
22 05 14 Filed in: concerts
I wrote incidental music for Karst Woudstra's play Anterotikon.
The music, commissioned by theater company WARNS, consists of an Introduction and seven Entr'actes.
The scoring is for clarinet, violin, violoncello and piano. I made the score and the sound files in Sibelius.
The performances: May 23, 24 and 25 (20:15 p.m.)
The production will be repeated in october 2014.
The location: Amstelveens Poppentheater in Amstelveen
This is the third production of WARNS for which I wrote music. Previous productions were The Lady from the Sea [Ibsen] and The Lady from Dubuque [Albee].
Listen to the music for these plays on the website or at Soundcloud
The music, commissioned by theater company WARNS, consists of an Introduction and seven Entr'actes.
The scoring is for clarinet, violin, violoncello and piano. I made the score and the sound files in Sibelius.
The performances: May 23, 24 and 25 (20:15 p.m.)
The production will be repeated in october 2014.
The location: Amstelveens Poppentheater in Amstelveen
This is the third production of WARNS for which I wrote music. Previous productions were The Lady from the Sea [Ibsen] and The Lady from Dubuque [Albee].
Listen to the music for these plays on the website or at Soundcloud
›wonen is het Westen‹ for Ensemble Klang
06 03 14 Filed in: concerts
The new composition for Ensemble Klang, ›wonen is het Westen‹ (home is the West), is the transitional music for the evening from the cycle ›Day Daily‹.
It will be premiered on March 11, 2014 in Tilburg by this ensemble of excellent musicians, which celebrates its 10th anniversary this year.
My congratulations to Ensemble Klang: Am Abendhimmel blühet ein Frühling auf (Hölderlin, Abendphantasie)
›wonen is het Westen‹ will be performed again on October 25, 2014 in the Orgelpark in Amsterdam, where it will combined with an other piece from the cycle: ›De dag daagt‹ for organ.
It will be premiered on March 11, 2014 in Tilburg by this ensemble of excellent musicians, which celebrates its 10th anniversary this year.
My congratulations to Ensemble Klang: Am Abendhimmel blühet ein Frühling auf (Hölderlin, Abendphantasie)
›wonen is het Westen‹ will be performed again on October 25, 2014 in the Orgelpark in Amsterdam, where it will combined with an other piece from the cycle: ›De dag daagt‹ for organ.
Raving - Reviews
04 02 14 Filed in: reviews
The Netherlands Radio Philharmonisch Orchestra conducted by Reinbert de Leeuw premiered Raving for orchestra and Electronic Dance Pulse, on 01/02/2014 during the ZaterdagMatinee in the Concertgebouw, Amsterdam. The performance was broadcast by the Dutch Radio.
Here are some reviews!
Merlijn Kerkhof | NRC, 03/02/2014:
›Intense and exciting new works by De Leeuw and Boogman‹
›particularly rewarding was the world première of Raving by Willem Boogman (1955), which was heard before the interval. While De Leeuw employs standard techniques, Boogman introduces a house beat with an ‘80s slap bass. The dull thuds worked wonderfully in the Concertgebouw’s Large Hall.‹
Frits van der Waa | De Volkskrant, 03/02/2014:
›The mechanical electronic pulse which forms a central element of Willem Boogman’s Raving reveals that the 58-year-old composer has not remained deaf to relatively recent dance music. Equally that does come as a surprise, since he’s always excelled at producing chiselled, refined and relatively esoteric music.
But this twenty minute long orchestral work – his first – is also anything but coarse. The material is (-) limited: a four-note signal motif and a step by step ascending and descending theme, but Boogman moulds out of this an adventurous and compelling, at times even witty, argument. (-) in the particularly skilful orchestration is a hint of Mahler and John Adams.‹
Merlijn Kerkhof | NRC, 03/02/2014:
›Intens en boeiend nieuw werk De Leeuw en Boogman‹
›(-) zeer de moeite waard was de wereldpremière Raving van Willem Boogman (1955), die voor de pauze klonk. Waar De Leeuw gangbare technieken hanteerde, bracht Boogman een housebeat met jaren-tachtig-slapbass binnen. De doffe klappen klonken wonderwel in de Grote Zaal.‹
Frits van der Waa | De Volkskrant, 03/02/2014:
›De mechanische elektronische puls die een centraal bestanddeel is van Willem Boogmans Raving verraadt dat de 58-jarige componist niet doof is gebleven voor de relatief nieuwe dancemuziek. Evengoed is dat een verrassing, omdat hij altijd uitblonk in geciseleerde, verfijnde en betrekkelijk esoterische muziek.
Maar ook dit twintig minuten durende orkestwerk - zijn eerste - is allesbehalve plat. Het materiaal is (-) beperkt: een viertonig signaalmotief en een trapsgewijs klimmend en dalend gegeven, maar Boogman boetseert daaruit een avontuurlijk en meeslepend, soms ook geestig betoog. (-) de bijzonder vakkundige orkestratie zweemt naar Mahler en John Adams.‹
Listen to Raving here (from 29:30):
>>
Here are some reviews!
Merlijn Kerkhof | NRC, 03/02/2014:
›Intense and exciting new works by De Leeuw and Boogman‹
›particularly rewarding was the world première of Raving by Willem Boogman (1955), which was heard before the interval. While De Leeuw employs standard techniques, Boogman introduces a house beat with an ‘80s slap bass. The dull thuds worked wonderfully in the Concertgebouw’s Large Hall.‹
Frits van der Waa | De Volkskrant, 03/02/2014:
›The mechanical electronic pulse which forms a central element of Willem Boogman’s Raving reveals that the 58-year-old composer has not remained deaf to relatively recent dance music. Equally that does come as a surprise, since he’s always excelled at producing chiselled, refined and relatively esoteric music.
But this twenty minute long orchestral work – his first – is also anything but coarse. The material is (-) limited: a four-note signal motif and a step by step ascending and descending theme, but Boogman moulds out of this an adventurous and compelling, at times even witty, argument. (-) in the particularly skilful orchestration is a hint of Mahler and John Adams.‹
Merlijn Kerkhof | NRC, 03/02/2014:
›Intens en boeiend nieuw werk De Leeuw en Boogman‹
›(-) zeer de moeite waard was de wereldpremière Raving van Willem Boogman (1955), die voor de pauze klonk. Waar De Leeuw gangbare technieken hanteerde, bracht Boogman een housebeat met jaren-tachtig-slapbass binnen. De doffe klappen klonken wonderwel in de Grote Zaal.‹
Frits van der Waa | De Volkskrant, 03/02/2014:
›De mechanische elektronische puls die een centraal bestanddeel is van Willem Boogmans Raving verraadt dat de 58-jarige componist niet doof is gebleven voor de relatief nieuwe dancemuziek. Evengoed is dat een verrassing, omdat hij altijd uitblonk in geciseleerde, verfijnde en betrekkelijk esoterische muziek.
Maar ook dit twintig minuten durende orkestwerk - zijn eerste - is allesbehalve plat. Het materiaal is (-) beperkt: een viertonig signaalmotief en een trapsgewijs klimmend en dalend gegeven, maar Boogman boetseert daaruit een avontuurlijk en meeslepend, soms ook geestig betoog. (-) de bijzonder vakkundige orkestratie zweemt naar Mahler en John Adams.‹
Listen to Raving here (from 29:30):
>>