Paul Frankhuijzen

Vocal instrumental

Avidità
for vocal ensemble

A chamber-opera story in 4 minute's

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.

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Siete voi i turisti
della democrazia
Vi mettete in coda
per me.

È completamente
pazzo e siamo
orgogliosi di lui

È la farsa dello stato!

Credo! Credo!
Ma Marcello.
Marcello dove sei?

Sì Sylvia.
Vengo da te.
Sì, penso che
abbia ragione.
Mi sbaglio io.

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

042 Avidità
(2011) 4'

2 soprano's, 2 alto's,
1 tenor, 2 barritons. 
Soloist barriton
lyrics: Paul Frankhuijzen

Commissioned by Bosch Parade Netherlands

First performance, Brabants Kamerkoor.
Director, Fokko Oldenhuis
Romancero
for vocal instumental ensemble

Romancero are one large wave movement in which always another manner of feeling expression takes places.

The text is one large collection of fragments from the Spanish character knowledge over the period of approx. 1040 up to and including the 17th century.

Language is an organic thing. It changes as a means of expression with the passing of centuries. Language stands for cultural identity.

The accompanying changes in man's emotional life formed the great source of inspiration for composing 'Romancero'. It has not become a scientific  argumentation.
Inspiration purely came from the change in the way that sentiments were interpreted and expressed over the centuries. The composition consists of three successive parts.
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Instrumentation

033 Romancero
(2007) 12:00’
Vocal ensemble, alto recorder, trombone,
fiddle, viola da gamba

Commissioned by dr. Rebecca Stewart.
First performance, Schola Cantorum Brabantiae


Vocal ensemble possible as:
1 soprano, 1 alto, 1 tenor, 1 baritone.

Also possible as 2 soprano, 2 alto, 2 tenor,
2 baritone.
Either possible as vocal ensemble, oboe,
trombone, violin, cello.
Stans a Longe
for 2 soprano's 1 alto voice

During of distant

He achieved very a lot of crime. And whereas he at themselves crime has been considered, savage he do not observe the high stars of the sky but on its udder beating he gave with its mouth to know, already crying: 'God, indicated me sinner mercifully and exterminates mercy-full already my crime'.

He mercy deserved by these good favourable words and certainly, however, honestly went he to its house.
To leave we, are to saint examples pursuing, to say:'Kind God, have  compassion with our and take good-natured ours sent away, and make our honestly'.

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Instrumentation

026 Stans a longe
(Canto X. 2006) 1:50’
2 soprano’s, alto
lyric: anonymous

First performance, Quink vocal ensemble
Canto X
for vocal and 2 trombones

Canto X’ a consonance journey into purification

‘From follower to individual’, thus reads the subtitle of this project. In the largescale songcycle ‘Canto X’ Frankhuijzen gives voice to a universal 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 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.
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The composer uses remarkably contemporary texts originating from the Song of Solomon and Dante's La Divina Commedia, but a heretic argument of fifteenthcentury 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

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The second part, called ‘Canto X’, takes up centre stage.Text fragments from Dante Alighieri’s ‘Hell’ from ‘La Divina Commedia’ 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.
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Instrumentation

024 Canto X
(2006) 19:30’
2 soprano’s, alto, 2 barok tenor trombones.
lyrics: Dante Alighieri Danto Alighieri from Inferno
canto IX and X compound through Paul Frankhuijzen

Commissioned by Quink Vocaal.

First performance, Quink vocal ensemble
Peripteron
chamber-opera

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 purification 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 structure of 'mythical' layers of emotion throughout the ages.

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 purification 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.
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Part 3, 'Oracles'.


In sever-al layers a number of oracles take place simulta-neously. A priest wants his own temple. The mother god EA is singing about her son.
The singers sing their  contemporary stories and sing about their experiences. The part develops not into a big crescendo, but into a big complexity of information. 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.

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Instrumentation

019 Peripteron
(2002) 56’
chamber-opera

soloist: alto, soloist bass,
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, whichwas through a earthquake damage.
Epilogue lyrics Paul Frankhuijzen.

Commissioned by the Fonds voor de Scheppende Toonkunst for November Music

Info Publ. Donemus webshop

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First performance,
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
Johakyû
for soprano voice, violin, piano

The meaning of “Johakyû” is introduction, development and finale and is derived from the Japanese Nô theatre.

In this tradition the subject of the idea, realisation and the result are all central. Zeami Motokiyo (1363-1443) perfected this and form in this dream vision.  “Mugen-No”, which dates from the 15th century. It is a portrayal of the soul, a revelation of the destiny of people. This experience is described within a psychological framework. They are Buddhist vision of being and appearance, of being and not being. These are the elements use in the composition Yohakyû.

Part one ‘Monomane’

is about the idea, the intrinsic, the imitation. It's not the reality that is copied, but the intrinsic. The text derives from the Nô play Adachigahara
“The heath of Adachi” and was originally spoken by a priest before he started his pilgrimage.

Part two ‘Yûgen’:

the hidden truth, realisation in addition beauty, love and play. The present themselves in a personal attitude, it is about an experience in a musical space.

Part three ‘Hana’

is the result: In en chanting flower a journey of new surprises. This text also derives from Adachigahara and is about an experience seen in retrospect, and the actions consequent of this.


Tabi no koromo wa suzukake no Tabi no koromo wa suzukake no tsuyukeki sode ya shioruran 

Kokoro mo madoi
kimo wo keshi,
Kokoro mo madoi
kimo wo keshi,
yukubeki kata wa
shiranedomo.
ashi ni makasete
nigete yuku,
ashi ni makasete
nigete yuku  
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For a travel cloak we donan outer garment of hemp.
For a travel cloak we don an outer garment of hemp.
Which projects usfrom the dew and ensures a sound sleep.

And the heart is confused,
we are disturbed.
And the heart is confused,
we are disturbed.
We do not know, where we
must turn to
To search for good fortune
in the expanse of space.
To search for good fortune
in the expanse of space.
To search for good fortune
in the expanse of space.
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Instrumentation

018 Johakyû
(2001) 14’
soprano, violin, piano
lyrics: from Japan No theater Adachigahara

Commissioned by Kees van de Wiel

First performance, piano/vocal, Tomoko Mukaiyama,
violin/voice, Monica Germino.
© Paul Frankhuijzen| All Rights Reserved