ANDRIESSEN WORKERS UNION PDF

Louis Andriessen b. His father and brother were both composers, and while he had an immediate entree into European modernism in the beginning of his musical life, by the end of the s he was a full-on Marxist. His music forms a bridge between the trance-like works of Reich and Glass and the music of David Lang. He stands on the other side of Minimalism - with its large structure and length, Workers Union , written for "any loud sounding group of instruments," is an assault of repetition and dynamics.

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Early Andriessen works are serial, but by he was working with graphic notation, as in the piano piece Registers, using a Read more combination of fixed and non-fixed elements to facilitate improvisation.

In , Andriessen swore off writing music for standard symphonic ensembles for good, a decision that was to profoundly impact his development. For a time, he worked in electronic music; his first venture into theater on his own with Il Principe.

De Staat earned Andriessen the coveted Kees van Baaren Prize, and since then he has garnered numerous awards, citations, and commissions. Andriessen also composes music designed to challenge the talents of specific performers; Forget-Me-Not requires an oboist to also play piano, and in TAO there is a part for a pianist who speaks and also plays the koto. Andriessen is regarded to some extent as an ensemble builder; Orkest de Volharding is a group he formed to play the same-named Andriessen work, and the ensemble came together afterward to program and commission other repertoire.

Younger composers view the work of Andriessen as an alternative to academic serialism and American minimalism, and aspiring composers from many nations have come to Holland to study with him at the Royal Conservatory at The Hague. He collaborated with stage director Robert Wilson on the four-part De Materie in In the s, a fruitful collaboration with film director Peter Greenaway led to several works, including the films M is for Man, Music, Mozart; Rosa: The Death of a Composer; and the opera Writing to Vermeer, which premiered in Sometimes didactic in his defense of his progressive political views, Andriessen is nevertheless far from humorless.

His penetrating insight as an essayist on topics such as Stravinsky may be read in his book The Apollonian Clockwork, published in I prefer the jacks-of-all-trades: the Purcells and Stravinskys, who are at home anywhere, borrowing here, and stealing there.

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Louis Andriessen

Early Andriessen works are serial, but by he was working with graphic notation, as in the piano piece Registers, using a Read more combination of fixed and non-fixed elements to facilitate improvisation. In , Andriessen swore off writing music for standard symphonic ensembles for good, a decision that was to profoundly impact his development. For a time, he worked in electronic music; his first venture into theater on his own with Il Principe. De Staat earned Andriessen the coveted Kees van Baaren Prize, and since then he has garnered numerous awards, citations, and commissions. Andriessen also composes music designed to challenge the talents of specific performers; Forget-Me-Not requires an oboist to also play piano, and in TAO there is a part for a pianist who speaks and also plays the koto. Andriessen is regarded to some extent as an ensemble builder; Orkest de Volharding is a group he formed to play the same-named Andriessen work, and the ensemble came together afterward to program and commission other repertoire.

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Workers Union (Andriessen)

Characteristics[ edit ] It is a melodically indeterminate piece; this means there is no key and no defined melody. Sections may be repeated as many times as the conductor wishes, resulting in varying performance lengths. Every instrument plays different notes that follow the same rhythm and ascending or descending patterns. This creates an atonal piece with many polyphonic phrases. There are points in the piece where the ensemble splits into two groups.

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