Performers
One big pasture
Guitar Aart Strootman

 
 
Triptych. Three unknow objects.
The triptych forms one entity, however the
components may also be performed by themselves.
Performers
Recorder;
Maurice van Lieshout
percussion instruments;
Eduardo Leandro

Performers
Recorder;
Suzanne van der Helm
Bongo's; Jelle Overheul



Performers
Ensemble Dubbelduet
Cello's: Eduard van Regteren Altema, Jacqueline Hamelink

© Paul Frankhuijzen
Éventail de Mademoiselle...
Alto saxophone Tanja Eijnden


composer
paul frankhuijzen

Chamber music

One big pasture

The below-mentioned prose text by

Gonzalo de Berceo (Spain, 13th century)

has been a source of inspiration.

 I, master Gonzalo de Berceo by name, arrived, when on a pilgrimage, at a
green and grassy pasture, where
many flowers bloomed. It was a lovely
spot for a tired man. 
The so fragrant flowers smelled
wonderful and refreshed a man's face
and mind. On all sides clear water flowed from rising springs…






One big pasture (2007) 8:30’

guitar / Free score

By the waterfront 

The second part focuses on the water flowing from the springs.

Claude Monet's lily pond was a source of inspiration here.
The pond offers a glimpse of eternity. Here one experiences
the existence of the unknown object. The lily pond paintings fit
in with Stéphane Mallarmé's ideas: emptiness is as important as fullness, reflections get the weight of objects.
Through introspection the unknown object by and by becomes clear.


By the waterfront (1998) 11’

for two percusion  performers

commissioned by Stamb / Free score

 

Éventail de Mademoiselle…

In the third part the object becomes visible.
In this part Éventail de mademoiselle...
it's poetical and colourful and moves up and down as a breeze in the air.
Mallarmé saw a poem as a structure of utterd and unuttered words.
To name an object is to destroy the poetical









Éventail de Mademoiselle... (1998) 9’
alto saxophone / Free score

 

Annevoie refers to the Château d’Annevoie, 

situated south of the town of Namur in Belgium.

Charles-Alexis de Montpellier had the gardens surrounding the
castle laid out around 1770.
The prevailing theme in the gardens is the use of water, inspired
by the fountains of the Villa dEste in Tivoli and the quiet basins
of Versailles. In each case a water stream is fed by three sources, appearing in a different shape every time (fountains, basins).

In the composition I have kept to the sequence of the guided tour.
I have classified said sequence according to the Haiku proportion
of 5-7-5=17.
Every time the rhythm changes and/or at a double bar the visitor arrives in a different part of the garden, where a new garden element originates. The recorder plays a free melody simultaneously, thus depicting the individual emotions of the visitor.

 

Annevoie (1993) 14’

tenor recorder (or d’recorder)
percusion instruments

commissioned by
Maurice van Lieshout

Free score

 

Estampie,  a dancing tune.


The Estampie, orginal from the from The Middle Ages,
is rather light-hearted and that quality was the basis
of departure in this composition, besides its great possibilities for solo performances and its dancing character. Playing the bongos gives drive to the composition, but that is alternated with creative playing
all the time. As, for instance, subtle play by using the fingertips can be alternated with playing with the flat of the hand, whereas the recorder clearly has more of a
solo-role to play.

 





Estampie (2006) 4:50’

alto recorder, bongo set

commissioned by
Maurice van Lieshout

Free score

 

Handmade by the people of:
 
The inspiration comes from several film images from the film ‘Potemkin’ by Eisenstein.
The revolution is created, as
it were, in the movement of
a crowd of people in that film.
But also ‘minimal music’ has been a source of inspiration.
The ever repetitive as well as the meditative properties of
that music style Paul
Frankhuijzen has wanted to break up with other repetitive influences.

 



It starts out with a seemingly simply naïve movement pattern. Bit by bit a certain
unrest comes into being. That unrest gradually gets the upper hand, but in such
a way, that the drive remains present. At the end as it were the naked approaching accents that were created in the unrest remain.


Handmade by the people of (1995) 6’

two Piano’s / one piano four
hands 

Free score

 

 

‘Fantasia’ was composed for ‘Dubbelduet’, 

a cello duo consisting of Jacqueline Hamelink and Eduard Van Regteren Altena. It was commissioned by ‘De Groep van Steen’,a pantomime group.

Three data have been incorporated in ‘Fantasia’, i.e.
1) Some components are quiet.
In those components both cellos move graciously and the melody plays a liberated part.

2) Other components on the other hand emanate energy. In those components the music sounds piercingly high.

3) There is a component  in which the two cellos follow the rhythm simultaneously, but with the smallest of deviations, whereby music progresses as if it is gliding.

 

Those three details alternate throughout the composition.


The consort music for six voices by William Lawes (1602-1645), written for six violas de gamba was a source of inspiration for me as well, especially when it came to creativity, polyphony and contour.

 

Fantasia (2004) 7’

2 cellos

commissioned by
De Groep van Steen

Free score

 

‘Slow intensity’ 

for piano and violin has his inspiration in the thought
of Stéphane Mallermé (1842-1898). He saw the
poem as a structure of pronounced and concealed
words. To give a name to the object is to destroy
the poetical power it contains.
In 'Slow intensity' Paul Frankhuijzen responded to
this. His inspiration is especially the structure of
spoken and unspoken words. By means of slowing
down the tempo it creates openings for new layers.
The musical material which is arising out of Éventail
de Mademoiselle…’ for alto saxophone shows it self in
this.

When an artist is working he/she can so intensively
approach a detail or phrasing so that specific
moments stay as a subjects on their own in that
larger scheme. In “Slow intensity” the composer
stresses these moments. The intention is to show the
present without explanation and not to create a
dream world.

Slow intensity (2013) 11:20’
piano, violin
Free score