© Paul Frankhuijzen

Peripteron takes place in the temple of Esklepios
at about 1000 BC.
The company is lead by a priest (baritone) and the
mother god EA (alto).
The priest makes the singers think and preaches puri-
fication and concentration. But he is also keen on having
his own temple and for that purpose he needs people.
The mother god EA predominantly sings about her son
and tells what happened to him.
The ensemble of vocalists, which is in the here and now,
reacts to the events. Peripteron mirrors a depth struc-
ture of 'mythical' layers of emotion throughout the ages.

Of course it was neither my church
nor the one of the clergy present here..
.
‘From follower to individual’, thus reads the
subtitle of this project. In the large-scale song-
cycle ‘Canto X’ Frankhuijzen gives voice to a uni-
versal search by humankind:the one of faithful
follower of God into a more unconventional and
enlightened individual. A rebirth of humanity
placed in a historical perspective. From the dark,
gloomy Middle Ages during which
‘Canto X’ a consonance journey into
purification
First signs of mental resistance emerge at the
beginning of the composition. Savonarola, the
heretical monk, sings in ‘Non fu mai el piu bell
sollazzo’ about the insanity of Christ and
Christianity. The same vital questions are also
given a chance in the edited sequentias from
around 850 A.D.: ‘Fortis Atque amara’ [full of
bitter force] and ‘Stans a longe’ [standing at a
distance]. ‘In Voce’, a short duet for baroque
trombones, is followed by ‘I am black’. In this
part text fragments from Canticles no.1 by
Solomon are mixed with heretical texts by
Tertullian (3rd century A.D.). 'I am black‘ deals
with Love and Respect for Higher Things, as well
as with man’s weaknesses and his prejudices.

The second part, called ‘Canto X’, takes up
centre stage.Text fragments from Dante
Alighieri’s ‘Hell’ from ‘La Divina Commedia’ [The
Divine Comedy] are  used in this part. A hellish
journey through no man’s land is undertaken in
the part in question. A Dantesque world in which
lies, fraud, cheating and exorbitant profits
prevail, and one in which sinners don’t want to
acknowledge their sins.
 
In the third part Love and Beauty are  at the
forefront. ‘It is Love which will triumph in the
end’, according to the composer. ‘Love for a
person, an object or love of work, but especially
the kind of love that  gives drive to life.
’The third part starts with ‘Due Voce’, a duet for
baroque trombones.
Then the conclusion follows with ‘Thou art
beautiful’. It consists of text fragments
originating from Canticles No. IV.  by Solomon.
‘It is one big languorous declaration of  love to
Beauty’, observes Frankhuijzen.
religion left a large mark on life into the enlight-
ened era of the Renaissance, in which much
more  meaning was being to personal initiative,
as well as to Arts and Science.
The composer uses remarkably contemporary
texts originating from the Song of Solomon and
Dante's La Divina Commedia, but a heretic ar-
gument of fifteenth-century monk Savonarola
has been included as well. In addition
Frankhuijzen incorporated inciting and inspiring
texts in Dutch, old Italian, Latin and English.

The cycle has been divided up in three chapters,
which have been set up as one long composition,
joined tightly together. A consonance journey
with one end only: ‘ from follower to individual’.

Marc van der Voort
Performers; Quink Vocaal
soprano Mariët Kaasschieter
soprano Mariette Oelderik
alto Elsbeth Gerritsen
trombones: Timothy Dowling / Joost Swinkels.

Recording: De Concertzender, live Canto X,

De Witte Dame Eindhoven Axes Jazzpower
The Netherlands
.


'Avidità'  There is a leader with his ego.

There is a nation. There are wishes.
There is greed. There is always a
new story coming on.


Avidità (2011) 4'
vocal ensemble:
soloist barriton
2 soprano's, 2 alto's, 1 tenor, 2 barritons.

lyrics: Paul Frankhuijzen
Language: Italian
Commissioned by Bosch Parade Netherlands
Free score
Siete voi i turisti
della democrazia
Vi mettete in coda
per me.

È completamente
pazzo e siamo
orgogliosi di lui
 
Ma Marcello.
Marcello dove sei?

Sì Sylvia.
Vengo da te.
Sì, penso che
abbia ragione.
Mi sbaglio io.
You are the tourists of democracy.
You are standing for me in line.
He is an absolute crazy but we
are pround of him.
It’s the farce of the State!
Credo! Credo!

But Marcello.
Yes Sylvia. I come to you.
Yes, I think she is right.
I’II make a mistake.
We make a mistake!
See! Sylvia, who are you?
Listen Sylvia!
paul frankhuijzen
composer
Part 1. 'Rite', is based on the Sumerian Hymn 'the creation of mankind',(v.c. 800) which was written down on a clay tablet.
The hymn is about the land between Euphrates and Tigris. The priest sings a magical ritual for purifica-tion and concentration.
The singers take this up and perform several rites. The texts are in Hebrew and Sumerian.
Part 2.'The land of the blind singers', the calls and the longing of the first part are being examined. Mesopotamia, the land of milk and honey, is praised. This part ends with the priest's following words:
I for my part, I will think both of you and of another hymn.
Part 3, 'Oracles'. In sever-al layers a number of ora-cles take place simulta-neously. A priest wants his own temple.
The mother god EA is sing-ing about her son.
The singers sing their con-temporary stories and sing about their experiences.
The part develops not into a big crescendo, but into a big complexity of informa-tion. EA one last time sings her ode to Apollo.
Part 4. 'Epilogue', the myth is being put in perspective.
The singers sing the words: We are walking around here in this wing.
We are here Peripteron. Now the priest ends with
the parting words:
So then, Lord! This hymn is my prayer.
Peripteron (2002) 56’
chamber-opera
soloist: alto, barriton, vocal ensemble, recorder quartet
lyrics: Musehymn of Mesemedes / Homeric Hymns compound through Paul Frankhuijzen
Oracle lyrics woman voice, from Turkish woman during a earthquake in 1999.
Oracle lyrics man voice, from Italian restorer during the restoration work of the church of Franciscus from Assisi, which was through a earthquake damage.
Epilogue lyrics Paul Frankhuijzen.
commissioned by the FST for November Music
Info  Publ. Donemus Webshop
Performers
Director; Marc Versteeg
Soloists; Mother God EA
Margot Kalse,
Priest Ken Gould
Vocal ensemble; Mirieille
Hofmann, Ayumi Aoki,
Desiree Verlaan, Bram
Verheijen, Coert van de Berg,
Marcel Moester.
Recorder quartet; Maurice
van Lieshout, Dina Titan,
Morton Séan Kierman, Maya
Schulten.
Recording VPRO
10-11-2002
Novembermusic festival

Photo  Elle Gielens
(Margot Kalse, Ken Gould)
A story in 4 minute's.
È la farsa dello stato!

Credo! Credo!
Siamo noi che sbagliamo!
Vedi! Sylvia,
chi sei?
Senti Sylvia.