Performers
One big pasture
Guitar Aart Strootman
One big pasture (2007) 8:30’
guitar / Free score

By the waterfront (1998) 11’
for two percusion  performers
commissioned by Stamb / Free score

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

 
 
 
 
 
One big pasture
The below-mentioned prose text by
Gonzalo de Berceo (Spain, 13th century)
has been a source of inspiration.

Yo, maestro Gonzalo de Berceo nomnado,
yendo en romeria caesçi en un prado
verde e bien sencido, de flores bien poblado,
logar cobdiciadero para homne cansado.
Daban olor sobejo las flores bien olientes,
refrescaban en homne las caras e las mientes,
manaban cada canto fuentes claras corrientes...

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…
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 power
it contains.
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.
Triptych.
Three unknow objects.
The triptych forms one entity, however the components may also be performed by themselves.
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 d’Este 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.
Performers
Recorder;
Maurice van Lieshout
percussion instruments;
Eduardo Leandro
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.
Performers
Recorder;
Suzanne van der Helm
Bongo's; Jelle Overheul
Estampie (2006) 4:50’
alto recorder, bongo set
commissioned by
Maurice van Lieshout
Free score


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.
Handmade by the people of:
Handmade by the people of (1995) 6’
two Piano’s / one piano four
hands 
Free score

Fantasia (2004) 7’
2 cellos
commissioned by
De Groep van Steen
Free score

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

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

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

paul frankhuijzen
composer
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.
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.
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.
‘Slow intensity’
‘Fantasia’ was composed for ‘Dubbelduet’,