Rozalie Hirs

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2019/05/25

In honor of Louis Andriessen – invitation

You are cordially invited to today’s concert Ter ere/ In honour. On Saturday 25 May 2019 at 13:00 CET at Muziekgebouw aan ‘t IJ, ASKO|Schönberg honours Louis Andriessen as a pedagogue by playing recent works by four of his former students, Mary Finsterer, Pete Harden, Martijn Padding, and Rozalie Hirs. The concert is conducted by his best friend and co-revolutionary Reinbert de Leeuw (both are in the above picture, together with, among others, Peter Schat and Misha Mengelberg).

concert programme
Rozalie Hirs – parallel world and sea (2017-18)
Mary Finsterer – And the sun will rise (world premiere; 2019)
Pete Harden – At Pappa’s Altar (2018)
Martijn Padding – Last Words (2019)

***

parallel world and sea (2017-18) by Rozalie Hirs consists of the following two movements:

i. parallel world [breathing] (2017)
commissioned by the University of Amsterdam & Royal Concertgebouw Orchestra

ii. parallel sea [to the lighthouse] (2018)
commissioned by ASKO|Schönberg

The work, composed with support from the Netherlands Performing Arts Fund, is scored for flute, clarinet, French horn, trumpet, 2 harps, 2 percussionists, electronic sounds, violin, viola, cello, and double bass. The harpists Ernestine Stoop and Zoë Knoop act as soloists during the performance. Arne Bock is the sound master.


2019/05/25

parallel world and sea (2017-18)

On Saturday 25 May 2019 at 13:00 CET at Muziekgebouw aan ‘t IJ, ASKO|Schönberg honours Louis Andriessen as a pedagogue by playing new works by four of his former students, Mary Finsterer, Pete Harden, Martijn Padding, and Rozalie Hirs. The concert programme is entitled Ter ere/ In honour.

concert programme
Mary Finsterer – New work (world premiere)
Rozalie Hirs – parallel world and sea (2017-18)
Pete Harden – At Pappa’s Altar
Martijn Padding – Last Words

The concert is part of the Andriessen Festival at Muziekgebouw aan ‘t IJ, taking place from 23-26 May 2019.


2018/05/13

parallel world and sea (2017-18)

On 13 May 2018 at 20:30 CET ASKO|Schönberg and Etienne Siebens (conductor) perform the new double harp concerto parallel world and sea (2017-18) by Rozalie Hirs during the concert series Obsessions at TivoliVredenburg, Utrecht, The Netherlands. The harpists Ernestine Stoop and Godelieve Schrama act as soloists during the performance. The concert is preceded by an interview with Rozalie Hirs about her musical obsessions, as well as a reading of her poems.

parallel world and sea (2017-18) by Rozalie Hirs so far consists of the following two movements:

i. parallel world [breathing] (2017)
commissioned by the University of Amsterdam & Royal Concertgebouw Orchestra

ii. parallel sea [to the lighthouse] (2018)
commissioned by ASKO|Schönberg

The new work, composed with support from the Netherlands Performing Arts Fund, is scored for flute, clarinet, French horn, trumpet, 2 harps, 2 percussionists, electronic sounds, violin, viola, cello, and double bass.

Earlier on 13 May 2018 at 15:30 CET the cycle parallel world and sea is also performed during the Dutch Harp Festival at Tivoli|Vredenburg.


2018/05/13

parallel sea [to the lighthouse] (2018) – world premiere

On 13 May 2018 at 15:30 CET ASKO|Schönberg and Etienne Siebens (conductor) present the world premiere of parallel sea [to the lighthouse] (2018) by Rozalie Hirs during the fifth anniversary edition of the Dutch Harp Festival at TivoliVredenburg, Utrecht, The Netherlands.

parallel sea [to the lighthouse] (2018), commissioned by ASKO|Schönberg with support of the Dutch Performing Arts Fund, is scored for flute, clarinet, French horn, trumpet, 2 harps, 2 percussionists, electronic sounds, violin, viola, cello, and double bass.

During the concert the new work is preceded by Hirs’ recent parallel world [breathing] (2017), commissioned by Royal Concertgebouw Orchestra and the University of Amsterdam. The harpists Ernestine Stoop and Godelieve Schrama act as soloists during both performances.

In the evening of 13 May 2018 at 20:30 CET the cycle parallel world and sea is also performed during the concert Obsessions #1 at Tivoli|Vredenburg (Hertz Hall).


2018/05/12

Picknick with the newspaper in the grass

Just received this fun picture, taken by a friend who is having breakfast in the grass. And who came across an interview annex preview by Joep Stapel in the daily Dutch newspaper NRC: “My music flows, intuitively, quietly”.

Earlier this week the same article has also appeared online NRC online under the title ‘Inspiration is the space where new things emerge’. Read it here. Or download the [PDF].


2018/05/11

Inspiration is the space where new things emerge [interview Joep Stapel, NRC]

“Inspiration is the space where new things emerge” – a wonderful interview by Joep Stapel in the Dutch national newspaper NRC today [Dutch only; English translation to follow].

We talk about my new double harp concerto Parallel world and sea (2017-18) that will receive its premiere performance by ASKO|Schönberg this Sunday 13 May 2018 at 15:30 during the Dutch Harp Festival and at 20:30 during Obession #1. Both events take place at TivoliVredenburg, Utrecht, The Netherlands with financial support of the Dutch Performing Arts Fund. Portrait photograph by Marco Borggreve. Happy reading! Hope to see you on Sunday!

Download PDF


2018/05/01

Platonic ID (2007) [another review by Siebe Riedstra]

The critic Siebe Riedstra just has sent me a to an updated review of my CD Platonic ID (2007), performed by ASKO|Schönberg. This review originally apppeared in the magazine Tijdschrift Luister; it was slightly revised and can now be read online Opus Klassiek. Thank you, Siebe Riedstra!
(more…)


2018/04/06

parallel sea [to the lighthouse]

The new composition parallel sea [to the lighthouse] for twelve instruments and electronic sounds (2018) is completed. I feel deeply grateful for the commission by ASKO|Schönberg and its artistic director Fedor Teunisse, the support of the Performing Arts Fund, The Netherlands, as well as the artist-in-residence at Maison Dora Maar, Ménerbes, France.

At Maison Dora Maar a most wonderful mistral-filled month of March was spent. The picture on the left shows the view from my window in the artist’s studio where I worked many hours a day on the new work. The picture below depicts an almond tree fiercely blossoming on top of the hill at Lacoste, one of the neighboring villages of Ménerbes.


2018/03/14

A sorcerer’s apprentice

The new season 2018/19 of Muziekgebouw aan ‘t IJ is now online. It is quite wonderful (and moving) to be included with a new piece for Asko|Schönberg in the concert Sorcerer’s Apprentices, honoring Louis Andriessen as a professor of composition. The concert, featuring three of his former students, is part of the Andriessen Festival celebrating his 80th birthday (photograph: Marco Borggreve).


2016/02/19

WDR Radio broadcast of The honeycomb conjecture

151108-RozalieHirs-rehearsal-AskoSchonberg-ReinbertdeLeeuw-Thehoneycombconjecture Listen to the recent WDR radio broadcast of the concert Mouvement, including the world premiere of The honeycomb conjecture (2015) by Rozalie Hirs, performed by ASKO|Schönberg and Reinbert de Leeuw (conductor), at NOW! Prismen in Essen, Germany, on 8 November 2015. Available online for the next thirty days.


2016/02/05

Platonic ID – UK premiere [invitation]

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You are cordially invited to the UK premiere of Platonic ID (2005-06) by Rozalie Hirs, performed by the Birmingham New Music Group and Richard Baker (conductor), at CBSO Centre in Birmingham tomorrow. The concert also features the world premiere of Parallel Colour by Edmund Finnis, as well as works by Claude Vivier, Tansy Davies, Jonathan Harvey, and Franco Donatoni. Welcome!

Platonic ID (2005-06) was commissioned by ASKO|Schönberg with financial support from the Netherlands Performing Arts Fund. Below in its first recording by Guido Tichelman, performed by ASKO|Schönberg and Bas Wiegers (conductor), released by Attacca Productions.


2015/11/10

Performance by ASKO|Schönberg

151108-RozalieHirs-rehearsal-AskoSchonberg-ReinbertdeLeeuw-Thehoneycombconjecture

Very happy with yesterday’s premiere of The honeycomb conjecture performed by Reinbert de Leeuw (conductor) and ASKO|Schönberg at the closing concert of NOW! Prismen 2015 at the Philharmonie Essen, Germany. Above is a photograph of the dress rehearsal in the afternoon. Below is a photograph taken just after the performance.

Special thanks to Philharmonie Essen for commissioning the new composition, to Casper Schipper for assistance with the sound synthesis in SuperCollider, to Jan Panis for sound projection in the hall, to Justus Vriesen for being such an impeccable producer, to Fedor Teunisse for his moral support, and to Wim Vos and Günther Steinke for programming the piece in the first place, along with such heroes as Vivier, Saariaho, and Lachenmann.

Extra special thanks to Machiel Spaan and Maria van Daalen for their love and friendship during the creative process.

151108-RozalieHirs-premiere-AskoSchonberg-ReinbertdeLeeuw-Thehoneycombconjecture


2015/11/08

The honeycomb conjecture (2015) – world premiere

Asko|Schönberg

On 8 November 2015 at 17:00 CET ASKO|Schönberg presents the closing concert of NOW! Prismen 2015 at the Philharmonie Essen, Germany. Part of this Spectral program are works by Helmut Lachenmann, Kaija Saariaho and Claude Vivier, as well as the world premiere of The honeycomb conjecture, a new work for large ensemble and electronic sounds by Rozalie Hirs, commissioned by Philharmonie Essen.

Special thanks to Casper Schipper for assistance with the sound synthesis in SuperCollider and to Jan Panis for sound projection in the hall.

Programme

Claude Vivier – Et je reverrai cette ville étrange
Kaija Saariaho – Graal theâtre
Rozalie Hirs – The honeycomb conjecture world premiere
Helmut Lachenmann – Mouvement – vor der Erstarrung

→ Nederlands


2015/07/30

New sounds in the cloud: Book of Mirrors (2001)

As promised one more earlier music composition: Book of Mirrors (2001) by Rozalie Hirs, commissioned by Asko|Schönberg (formerly known as Asko Ensemble) for Soundscreen at Holland Festival 2001 with financial support by the Dutch Performing Arts Fund. The music was especially composed to be played live by nineteen musicians of ASKO|Schönberg and Stefan Asbury (conductor) along with the film #23.2/Book of Mirrors by Joost Rekveld, an abstract film of light diffracting and reflecting via grids and mirrors. The music composition is dedicated to Machiel Spaan.


2011/11/13

Arbre généalogique

Rozalie Hirs and Susan Narucki (after the premiere of 'Arbre généalogique', Muziekgebouw aan't IJ, Amsterdam, 10 November 2011)

On November 13, 2011, at 14:00, Rozalie Hirs’s musical composition Arbre Généalogique (2011) is being performed by Susan Narucki (soprano), Pierre-André Valade (conductor) and the Asko|Schönberg ensemble, as part of the November Music festival in Den Bosch.


2011/11/10

Arbre Généalogique – world premiere

Rozalie Hirs and Susan Narucki (after the premiere of 'Arbre généalogique', Muziekgebouw aan't IJ, Amsterdam, 10 November 2011)

On November 10, 2011, at 20:15, the world premiere of the musical composition Arbre Généalogique (2011) by Rozalie Hirs is taking place as part of the PROMS concert series in Muziekgebouw aan ‘t IJ. The piece is  performed by Susan Narucki (soprano), Pierre-André Valade (conductor) and the Asko|Schönberg ensemble.


2011/06/21

De genezing van de krekel

Richard Ayres (music), Rozalie Hirs (libretto) Pierre Audi (dramaturgie) The Cricket Recovers, Holland Festival, 2011

On June 19, 20 and 21, 2011, at the Compagnietheater in Amsterdam, the opera The Cricket Recovers (music: Richard Ayres; libretto: Rozalie Hirs, based on the novel of the same title by Toon Tellegen, 2005) is performed as part of the Holland Festival, by Vocaallab and Asko|Schönberg. The production is directed by Pierre Audi.


2010/07/25

Radio portrait of Rozalie Hirs, Concertzender

Concertzender Logo

On July 25, 2010, at 19:00, six musical compositions by Rozalie Hirs are broadcast by de Concertzender as a radio portrait in the program Bijdetijds. The selection was programmed by Miranda Driessen.

article 0 [transarctic buddha] (2000) – Arnold Marinissen (percussion)
article 1 to 3 (2003) – 
Dante Oei (piano)
Schizofonia (1994) – electro-acoustic
Book of mirrors (2001) – Asko Ensemble conducted by Stefan Asbury
a-book-of-light (2003) 
- Ensemble Piano Possible conducted by Christian Günther, 
live recording by De Concertzender

This is a repeat broadcast of the show first broadcast on July 5, 2010, at 19:00.


2010/07/15

Radio portrait of Rozalie Hirs, Concertzender

Concertzender Logo

On July 15, 2010, at 14:00, six musical compositions by Rozalie Hirs are broadcast by de Concertzender as a radio portrait in the program Bijdetijds. The selection was programmed by Miranda Driessen.

article 0 [transarctic buddha] (2000) – Arnold Marinissen (percussion)
article 1 to 3 (2003) – 
Dante Oei (piano)
Schizofonia (1994) – electro-acoustic
Book of mirrors (2001) – Asko Ensemble conducted by Stefan Asbury
a-book-of-light (2003) 
- Ensemble Piano Possible conducted by Christian Günther, 
live recording by De Concertzender

This is a repeat broadcast of the show first broadcast on July 5, 2010, at 19:00.


2010/07/05

Radio portrait of Rozalie Hirs, Concertzender

Concertzender Logo

On July 5, 2010, at 19:00, six musical compositions by Rozalie Hirs are broadcast by de Concertzender as a radio portrait in the program Bijdetijds. The selection was programmed by Miranda Driessen.

article 0 [transarctic buddha] (2000) – Arnold Marinissen (percussion)
article 1 to 3 (2003) – 
Dante Oei (piano)
Schizofonia (1994) – electro-acoustic
Book of mirrors (2001) – Asko Ensemble conducted by Stefan Asbury
a-book-of-light (2003) 
- Ensemble Piano Possible conducted by Christian Günther, 
live recording by De Concertzender

Repeat broadcasts of this show take place on July 15, 2010, at 14:00 and on July 25, 2010, at 19:00.


2009/08/30

Book of Mirrors

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On August 30, 2009, the musical composition Book of Mirrors (2001) by Rozalie Hirs is being performed live to accompany Joost Rekveld’s 2001 film #23.2 by the Asko|Schönberg ensemble conducted by Clark Rundell, as part of the Toonzetters Festival 2009 at Muziekgebouw aan ‘t IJ, Amsterdam.


2009/02/20

Book of Mirrors

090220 New Century Players

On February 20, 2009, the musical composition Book of Mirrors (2001) by Rozalie Hirs is performed by the CalArts New Century Players conducted by David Rosenboom at REDCAT, Los Angeles, United States.


2007/06/27

Platonic ID

070627 rozalie-hirs-Platonic-ID-cd-cover-2007

On June 27, 2007, the first portrait CD of Rozalie Hirs, Platonic ID (Amsterdam: Attacca Productions, 2007) is launched, with recordings of works by Hirs, performed by Asko|Schönberg, Stefan Asbury, Arnold Marinissen, Anna McMichael, Dante Boon (a.k.a. Dante Oei), Bas Wiegers. You can find information on the CD, as well as fragments and reviews, by following this link.


2007/06/01

Platonic ID (CD, 2007)

Contents

1. Tracklist, musical excerpts
2. Liner notes by Anthony Fiumara

Tracklist

Platonic ID (2005-06) 17’59”
for 13 instrumentalists
Asko Ensemble & Bas Wiegers (conductor)


article 0 [transarctic buddha] (2000) 7’54”
for solo percussion: pitched metals and pitched natural stones
Arnold Marinissen (percussion)

article 1 to 3 (2003) 11’12”
[the]
[aleph]
[a]

for piano solo
Dante Boon (piano)

article 4 (2004) 10’02”
[landkaartje – la carte géographique – map butterfly]
for violin solo
Anna McMichael (violin)

Book of Mirrors (2001) 12’04”
for 19 instrumentalists
Asko Ensemble & Stefan Asbury (conductor)

Liner notes

The soft gleaming skin of sounds
Anthony Fiumara

Purified, as if washed clean—that is one way one might characterize the music of Rozalie Hirs (1965). Her work is presented with the greatest clarity; she creates a world in a few gestures. Within that world, sonic beauty is of greater importance than the display of technique or structure. Indeed, though Hirs’ points of departure are almost always austere and sober, she permits herself a great measure of intuition. The listener hears a number of associations that occur within the limits of the plot she has laid out for herself. This is not to say that the Dutch composer only works intuitively when constructing her works–quite the contrary. At first hearing, her gestures may seem simple but beneath them refined methods are hidden, rooted in mathematical or physical ideas. Perhaps this has something to do with Hirs’ background as a chemical engineer, her training before she devoted her life to the muses.

The unwary listener need not, in fact, be occupied with the mathematical framework underlying her music. Hirs seems to be most eager to show you the soft, gleaming skin of her sounds. Each successive piece becomes more and more soulful and warm-blooded – as exemplified by the most recent work on this CD, Platonic ID (2006), which Hirs wrote for the Asko Ensemble.
In Platonic ID, Hirs took the overtones described by Plato in his Timaeus as a point of departure: frequency relations that are, for Plato, the expression of the World Soul. The composer used these pitch relationships to create her harmonies: a number of fifths and octaves impart to the piece its particularly consonant character. Platonic ID elegantly unfolds in rustling waves of quick notes, with moments of repose where the chords are heard sounding out in the piano, or in which short, luminous chorales suddenly shine forth. ‘Usually, I’m looking for fluid transitions in my work, but in Platonic ID I chose to work with blocks that can be clearly distinguished. Within those blocks, the music is intentionally very fluid again’.

Not content to be only a former engineer and a composer, Hirs is a poet as well. Recently, her third collection, Speling (Leeway) was published, as in the case of her first two collections Locus and Logos, by the renowned literary publishing house, Querido. ‘I first took up poetry’, Hirs says when asked which art form she practiced first. As long as I can remember I have been fascinated with words and sound. Already, when I could only write my own name, I wished to rearrange the letters, just to see what it might say. Written language to me was a code, a mysterious thing whose workings I didn’t yet fully grasp’.
‘My first serious poems I wrote when I began my chemistry studies. At that point it didn’t occur to me to attend conservatory. In my upbringing my parents always emphasized the importance of learning a trade. As an emancipated woman, I thought I would enroll in a science program and keep music and poetry only as side interests. I sang in bands and I took classical singing lessons at the music school. I diligently passed my chemistry exams, but music and poetry turned out to be my real life’.
After graduation, Hirs took a year off in order to find out whether she really wished to take the big step into music. She did, and applied to the Royal Conservatory at The Hague. ‘I wanted to go there, because it was where Louis Andriessen was teaching, and I greatly admired his music’.
Hirs describes her time at the conservatory with Diderik Wagenaar and Louis Andriessen (and her subsequent studies with Tristan Murail in New York) as a period of discovery. Furthermore, during her first year as a conservatory student she took part in the poetry competition of the Pythian Games at Enschede, where she ended among the finalists, as a result of which Querido poetry editor Jan Kuijper invited her to submit some of her work, and Querido published Hirs’ first collection Locus in 1998.

When asked what poetry and composing have in common, Hirs says: ‘In both, you need distance, so as to think abstractly, and perspective, so as to see what you have made. On the one hand, creating is expressing yourself, but on the other hand you need this distance to improve yourself. The capacity for self-reflection is among the best qualities of any good artist’. This almost scientific attitude is also found in her Book of Mirrors (2001), in which Hirs connects the use of acoustical laws of overtones, sum tones and difference tones to how a listener perceives sound. ‘If you hear two tones at the same time, it turns out that the brain automatically adds certain others. I was wondering how I could use this fact to produce a harmonious and homogeneous sound’. Hirs wrote Book of Mirrors as music for an abstract film by Joost Rekveld. The ‘mirrors’ in the title refer to the prime numbers and the mirrored structures that form the foundations of the work, making Book of Mirrors into a kaleidoscope of ratios. Starting from the lowest level of the tones, through the chords and the tone-colors up to the level of time structures, everything is fixed by numerical measurements and their mirrorings. These correspond to the time structure of Rekveld’s film and to particular details, for example the use of color.

After her years with Louis Andriessen, Hirs studied for some time with Tristan Murail at Columbia University. ‘Murail’s music I found to be very beautiful. What attracted me in his work was the way it was highly concerned with harmony and timbre, and with the psychology of time perception. His gestural style may be closer to a late-romantic idiom, whereas Andriessen, who is more of a classicist, interested in clarity of form. In addition, Murail is a phenomenal orchestrator, who takes the overtone structures of the instruments into consideration when writing. This way, he is capable of giving a small ensemble an almost symphonic sound. What I learnt from Murail built upon my studies with Andriessen: how to listen carefully, elaborate and notate things—and why they should be that way. Every detail must be right, every note must be good’.

This eye for detail is most clearly found in Hirs’ series of solo works, each entitled article. Hirs primarily intends ‘article’ in the linguistic sense. ‘The pieces are meditations on the articles of language’, the composer explains. But ‘article’ might also be taken in the sense of ‘writing’ or ‘textual fragment’. Then, one might see Hirs’ articles as essays in sound – experiments, trials or treatises, like those of Montaigne – which treat some clearly delimited subject. Take, for example, article 4, in which Hirs lets go of the grammatical principle and takes a butterfly for her subject matter. ‘By way of the (grammatical) articles I came to the Hebrew alphabet in article 1 to 3. At that point, it was a small step to get to the map butterfly of article 4 and the buddha (article 0 was added to the cycle a few years after it was written)’, Hirs explains.

article 0 [transarctic buddha] is the first work that Hirs composed during her studies at Columbia University with Tristan Murail. This piece for percussion is an answer to Morton Feldman’s The King of Denmark. If in Feldman’s work the performer is given great freedom in the choice of instruments, in Hirs’ piece these are fixed, comprising of metal instruments and a set of 23 tuned slabs of stone (Belgian bluestone and marble). The stones reminded Hirs of a sculpture of a person and of a ritual. Thus the Buddha, who, for the composer, is of similar stature as Feldman. The adjective ‘transarctic’ was a free association on her transatlantic sojourn in New York. Stone and metal (the other material in the work) gave Hirs, as she puts it, ‘a cold sensation’: arctic, so to speak. transarctic buddha is a journey around the old, cold, bald head of a stone Buddha, around his crown; a terrestrial globe with ice on the poles, that keep sea and land invisible until the temperature rises above freezing point’.

The solo piano composition article 1 to 3 (2003) is in three movements. This work explores the harmonic spectrum of a low B, situated far below the range of the piano. At the same time, article 1 to 3 is an examination of the properties of this particular string instrument. Part 1, titled [the], concerns itself with the resonance of the instrument, the vibrations caused by the strings and the body of the piano. The second movement is a ‘meditation on the keyboard of the piano, on the relative position of the keys and on weightlessness’, says Hirs. In movement three the composer quotes a short rhythmic motive from Feu d’artifice, one of the 24 preludes composed for piano by Claude Debussy. Fireworks indeed: Hirs wrote article 1 to 3 for the occasion of her parents’ fortieth anniversary.

article 4 [landkaartje – la carte géographique – map butterfly] from 2004 is an exploration of violin harmonics, overtones that sound when you half press the string at certain nodal points. It is interesting to see that Hirs notated her score for solo violin on two staves – the instrument is usually given one staff only. The lower staff notates the musician’s fingering while the upper staff shows the sounding result of his actions. The ‘fingering staff’ is only seen by the player – the listener doesn’t hear it. It’s also a kind of phantom voice that plays an inaudible bass note for every sounding tone. The violin is like a virtuoso viola d’amore, or (according to the title) a butterfly flitting about and casting volatile shadows on the ground which travel along with it, ‘in a mysterious conjunction of body, light and motion’, according to Hirs. The map of the pitches comes into existence as the butterfly flies across the fingerboard. The harmonics and their ‘ground shadows’ were used again by the composer as a point of departure for the harmonies in Platonic ID.

One further point: in spite of her fascination with the shadowy world of the overtones and their harmonic relationship, Hirs doesn’t view herself as a spectral composer: ‘I don’t like the term spectral music very much because it has certain stylistic implications. I do let myself be inspired by spectra as they can be found in nature and analyzed by composers, and by the frequency calculations that we know from electronic music as well. I want to design an architecture of sound. I would like to move through a musical work as through a space. What others call ‘form’ I call ‘sonic space’, given by the relation between tones that built a structure during the compositional process’. Hirs may not want to be considered part of the spectralist movement within which Murail is generally placed, yet a work like Platonic ID has an unmistakably French sound to it. Hirs herself does not disagree with this view, although she was thinking also of jazz figures like John Coltrane. ‘But that association is very personal. May I tell you what seems ideal to me? To write a kind of music that engages in dialogue with physical and psychological processes in the brain. Composers like Claude Vivier, Gérard Grisey and Tristan Murail, for example, manage to do that. They literally create sensuous pieces, a music of the senses, which communicates with the listener. In the ideal case, music provides an experience the listener has never had’.

(translation: Samuel Vriezen/James Helgeson)
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Ernestine Stoop, article 5, De Doelen, De Gids, Dichters in de Prinsentuin, Huygens-Fokker, Hilbert's Hotel, Pulsars, hochroth verlag, Logos, Curved Space, Arbre généalogique, Eleanor Livingstone, Stanza Poetry Festival, David Kweksilber, Dutch Foundation for Literature, Doelenkwartet, Piet Gerbrandy, Carl De Strycker, Rozalie Hirsch, Keiko Shichijo, To the sun, Cathy Van Eck, ahora es una rosa, Jeroen Dera, Rosalie Hirsch, Daniel Cunin, Rosalie Hirs, Lyrikline, Zaterdagmatinee, Fixpoetry, Etienne Siebens, Bianca Sistermans, Johan De Boose, Edwin Fagel, Kars Persoon, SPECTRA Ensemble, Filip Rathé, Henri Deluy, Kim Andringa, Reinbert de Leeuw, Marc Reichow, Poëziecentrum, Yauguru Books, Joep Stapel, Nora Fischer, Boris Tellegen, Geert Jan Mulder, Sonar Quartett, lightclouds, WDR, Platonic ID, Attacca Productions, James Fei, život mogućnosti, Olivier Messiaen, De Link, Katharina Rosenberger, Musikfabrik, Emilio Pomarico, 3 durch 3, Friedrich Block, Van Doesburg House, UCSB, Philip Thomas, Harm van den Dorpel, Laurens Ham, Gaudeamus, Jochem Valkenburg, Todd Moellenberg, Klangforum Wien, Louis Andriessen, Sacro Monte, Donderdagavondserie, On Tenderness, Amsterdam Sinfonietta, philharmonie zuidnederland, Festival van Vlaanderen, Sound installation, Zephyrkwartet, Kaija Saariaho, Stefan Asbury, Sixxen, Marieke Franssen, Sound Forest, Paul Craenen, Performing Arts Fund, Concertgebouw Orchestra, Tristan Murail, Deuss Music, Lichtende Drift, In LA, Venus, Johannes Fischer, Slagwerk Den Haag, Klankenbos, Bas Wiegers, Bridge of Babel, Gérard Grisey, parallel world [breathing], parallel sea [to the lighthouse], parallel world and sea, Curvices and Musicles, Meditations, Infinity Stairs, Book of Mirrors, Bert Palinckx, article 0, article 4, article 8, Nadir, article 6, Yvan Vander Sanden, Roseherte, OpenMusic, Jorinde Keesmaat, OMTristan, Bauwien van der Meer, article 1 to 3, Bozzini Quartet, Holland Festival, The listening house, Remko Spaan, Luisterhuis, Interactive song cycle, Muziekgebouw aan 't IJ, Cox & Grusenmeyer, article 7, Michaël Snitker, Daniela Seel, kookbooks, Arnold Marinissen, Joost Baars, gestammelte werke, Wiek Hijmans, Casper Schipper, Family Tree, Curvices, Zenit, Fie Schouten, November Music, Lucky Charm, Teaching, gestamelde werken, ASKO|Schönberg, Machiel Spaan, verdere bijzonderheden, Perdu, Geluksbrenger, Donemus Publishing, Uitgeverij Querido