The Road To Here
WINTER
15 02 21 Filed in: new releases
›Winter‹ is the first video I made on my own music, in this case the fifth movement of ›The Road To Here‹, performed here by the Ottoni Quartet and Wybe Kooijmans - organ.
The live recording of the premiere was made by Bert van Dijk in the Orgelpark in Amsterdam.
More about the music: The Road To Here
The live recording of the premiere was made by Bert van Dijk in the Orgelpark in Amsterdam.
More about the music: The Road To Here
The Road To Here (audio)
03 05 19 Filed in: new releases
Enjoy the performance of The Road to Here by Geerten van de Wetering – organ and the brass quartet of neo-fanfare ›9x13‹ consisting of Arthur Kerklaan and Anneke Romeijn – trumpets, Pierre Buizer – horn, Anton van Houten – trombone
Read more about The Road here
Photo: West End, New Orleans
Read more about The Road here
Photo: West End, New Orleans
The Road To Here
24 05 18 Filed in: concerts
The Road To Here will be premiered by Ottoni Quartet and organist Wybe Kooijmans
See concerts
The Road To Here (2018) for brass quartet and organ was commissioned by the Ottoni Quartet on the occasion of their 25th anniversary, with financial support by the Amsterdam Fund for the Arts, Orgelpark Amsterdam and the Ottoni Quartet. Read more about The Road To Here
See concerts
The Road To Here (2018) for brass quartet and organ was commissioned by the Ottoni Quartet on the occasion of their 25th anniversary, with financial support by the Amsterdam Fund for the Arts, Orgelpark Amsterdam and the Ottoni Quartet. Read more about The Road To Here
Invention
07 11 17 Filed in: notes – no notes
»… finding - inventio, invenire - of something real, true.«
[Claudio Magris, Non luogo a procedere | Blameless, afterword (2015)]
Find things as they are and make up as little as possible.
Lately I work with readymades (found objects), fragments of music, which regularly play through everybody’s head. These are the building blocks for compositions I now work on. By changing their shape I create completely authentic and new music. With modern techniques like transformations and interpolations at the level of their DNA (modulations) I make their identity fluid as clouds that float by and past each other against a blue sky. This way I compose my ultimate polyphony. (Listen to Distant Voices, Intermezzi, Ihr Tore...) Of the reflection of the known I make the opening to the unknown. Not driven by dreams but by desire.
Recent work to which the above applies: The Road To Here for brass quartet and organ (based on popular music from different styles) and Dive Along the Coral Reef for accordion and five or six instruments of choice (with Bach, Schumann and Reich).
With this way of creating new music I find myself in a longstanding tradition in classical music. Through the centuries composers have often made use of fragments, musical themes or melodies of their predecessors, colleagues, or for instance folkmusic, to create their own works.
[Claudio Magris, Non luogo a procedere | Blameless, afterword (2015)]
Find things as they are and make up as little as possible.
Lately I work with readymades (found objects), fragments of music, which regularly play through everybody’s head. These are the building blocks for compositions I now work on. By changing their shape I create completely authentic and new music. With modern techniques like transformations and interpolations at the level of their DNA (modulations) I make their identity fluid as clouds that float by and past each other against a blue sky. This way I compose my ultimate polyphony. (Listen to Distant Voices, Intermezzi, Ihr Tore...) Of the reflection of the known I make the opening to the unknown. Not driven by dreams but by desire.
Recent work to which the above applies: The Road To Here for brass quartet and organ (based on popular music from different styles) and Dive Along the Coral Reef for accordion and five or six instruments of choice (with Bach, Schumann and Reich).
With this way of creating new music I find myself in a longstanding tradition in classical music. Through the centuries composers have often made use of fragments, musical themes or melodies of their predecessors, colleagues, or for instance folkmusic, to create their own works.