Paul Frankhuijzen

Small ensemble

Without words
for oboe, violin, viola, cello

Without Words is inspired by the song Amor
(Lamento della ninfa) by Claudio Monteverdi

The original text is about love, happiness, desire, doubt, uncertainty and loyalty, a timeless theme. It integrated me that with relatively simple material it has such an extraordinarily emotional charge that was not common at the time. I had been planning to do something with this song for some time, but thought words capture things that way. So I came up with the idea to display it without words. Especially in a time where words have become very important. So much explanation, so many words and endless talk. Sometimes a sign can say more than a word.

Moments from the lyric.

dove dove la fe
Fa che ritorni il mio
Non vo' più che i
Perché di lui mi
che sì, che sì se'l fuggo ancor 
Se ciglio ha più sereno
dolci baci
né più soavi

Where's the fidelity
Make my love come back
I don't want him
Because of him
and if I avoid him
If her eyes are more serene
sweet kisses 
no more sweet

With Without Words I want to get to the sound and expression behind these moments, and not give any definitive meaning, keep it open. This is actually already saying too much, sorry!

056 Without words
(2020) 4:00'

oboe, violin, viola, cello
Private room
for piano, Bb clarinet, violin, cello

Belgian choreographer Anne Teresa Keersmaeker was also an inspiration for 'Private Room'. At her work she approaches the spatial organization from different layers which move as circles in the space. Thus, there is a constant
search in the space by the dancers. This approach is consistent with my way of working. The dancers are the instruments and the space is a musical presence. This musical presence (space) which is expressed by both the individual players as well the interaction between them.

The sound material consists of 4 layers which consist of different sound fields. The clarinet, violin and cello move like circles in these fields, each with its own character. You could say the players are scanning the space by various movements, such as standing still, progress, fast pace.

The piano represents the space with its own material, the subconscious of the space, 'the echo', but he also makes acoustic connections with the players.  This mainly takes place in the higher register.

In the Epilogue the piano plays solo. The space can be heard, the present comes to a tangible sound.

051 Private room
(2016-2020) 8:20'

piano, Bb clarinet,violin, cello
Eda Samazama
for piano, violin, alto saxophone

Eda Samazama is Japanese - it is difficult to translate, but might be something like: big diversity. The appellation‚ 'Samazama' can be found in  Japanese pharmacies and is possible to be interpreted as follows: there are many pills you can get but the effects are very different from each other - that’s how it is with my composition as well.

The music has a cyclic effect. Each cycle changes the color of the chord chains. This is made by variation, modulation but also through the structure of the chords, which are played by the piano. The violin and the saxophone play a more freely melodic role; they are truly the leaves on the tree. They give contour to the tree (composition), color and play, but sometimes take over the role of the piano as well. It is a game of accompanying each other and  cutting one’s one path again

013 Eda Samazama
(1995) 11:30'

piano, violin, alto saxophone
© Paul Frankhuijzen| All Rights Reserved