478:
forms the personage as a whole (Deurzen 216). The solo instruments are accompanied by electronic sounds. These electronically created sounds have both the singing voices as the solo instruments as their source. A multi-layered idea of identity is then created. The first layer is formed by the singing voices. The second layer is formed by the solo-instrumental shadow, it has the same characteristics but is more vague and flexible than the voice. The third layer is formed by the electronics, the solo instruments are still recognizable, but get distorted (Deurzen 218).
350:. In his works Borges creates a large variety of mysterious repeats form a constantly recurring theme. We can see a similar trend in de Vries' compositional philosophy. As it is not possible to envision entirely the effect of written music on a listener, he or she will discover new facets in a work when subsequently listening to it. It is with this that de Vries tries to play by introducing repetition and variations on musical elements, bringing him close to the philosophy of the Argentine author (Klis 390).
22:
505:
Another important aspect is the use of
Baroque rhetoric. The solo instruments accentuate the emotional state of the singing voices using special intervals and special rhythmic patterns. Also the work as a whole is built as a modern passion: solo arias are being varied with instrumental and ensemble
469:
The idea of multiple identities, to be found in the book, is the largest source of inspiration for de Vries. 'There is not one stable identity but many in which the reader moves from the one to the other' (Deurzen 215). The opera is based on the question about the essence of identity (Oskamp 125).
477:
the six personages are depicted by six singing voices accompanied by six instruments. Percival, the seventh character, also has a solo instrument, but no singing voice as he never speaks. This led to de Vries' concept of double personages; the symbiosis of the singing part and the solo instrument
451:
is made out of monologues by six different personages and deals with their individual, intellectual and emotional world. There is a seventh personage, called
Percival who never speaks. He is only referred to by the six speaking personages who speak about him in a subjective way. Although Percival
295:
De Vries puts more focus on his own notes to be convincing themselves, instead of the notes being the result of pre-compositional systems (Schneeweisz 10, 11). In this sense he is highly aware of the fact that it is not possible to entirely envision what effect the written notes will have on a
501:
works with a basic melodic curve, and gets altered throughout the piece. This process happens partially through the use of electronics. It is split up in smaller entities, mirrored and changes are added. In rhythmic sense we can find a lot of proportional values (Zuidam 40).
241:. Although getting to compositional maturity in this surrounding, it did not take long for de Vries to realize the limitations of this style. Nevertheless, de Vries continued to use an anti-romantic approach to musical writing, shared with
279:
De Vries' compositions can be described as a search for an own musical identity, the main goal being the creation of a style of writing in which he can be freed from given compositional necessities. The music of
315:
In his works de Vries tries to create a balance between structure and expression. One thing evolves from the other. Not just individual elements or sequences, but whole works (Schneeweisz 11-12).
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The work has a fundamental chord which works as a building block in harmonic sense for the entire work. All other chords and harmonies are derived from this chord. The chord, depicted as
304:
techniques, such as the falling motive to illustrate the idea of death. De Vries also turned his attention towards the re-usage of music of the past (Wenekes 30), as exemplified by his
506:
parts. These parts, among which the Pessoa poems, are built as baroque chorals and madrigals using polyphonic techniques. The poems are presented as "heterophonies" (Deurzen 217).
296:
listener. His approach towards composition can be described as speculative (Klis 388-389). To be able to give meaning to his written notes, De Vries turned for instance to the
452:
never speaks, he is the connecting figure among the six personages. His true identity remains a mystery. The poems of Pessoa form a moment of reflection on the Woolf story.
338:(1987) for piano solo marks a turning-point which led to an even more important role of extra-musical influences (Schneeweisz 12). The 'sonata' itself is based on the novel
271:
and improvised music (Schneeweisz 8-9). From these composers he learned an open-mindedness towards musical composition, which made him able to follow his own musical path.
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494:, combined with each other. The result is a harmonic language which sounds chromatic and dissonant, but still gives a feeling of movement (Zuidam 40).
260:(1968) for two piano's and orchestra, he never felt comfortable using serialistic techniques. He was to abandon this approach quickly (Oskamp 123).
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of composers: The Hague school can be characterized by the usage of collage-like harmonic blocks, a way of composing associated with composers as
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in 2000, when a firework storage facility exploded and devastated an entire part of the city. The libretto is written by the
English author
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331:. Together with the usage of instruments as the mandolin and guitar, this music evokes an exotic atmosphere (Wennekes 28).
346:. De Vries is also greatly inspired by the novels of Latin-American authors, especially by the works the Argentine author
328:
396:
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In his quest for finding new ways of expression in his music de Vries also turned to literature. In his chamber opera
509:
The work was premiered 21 May 1996, at the Royal Circus in
Brussels. The work was performed by the joined forces of
78:, winning the composition prize there in 1974. After winning this prize de Vries studied with the Croatian composer
433:(1996) can be seen as one of de Vries' largest and most successful works until now. The opera is based on the book
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292:(English: movements) (1979) he experimented with the usage of fluent transitions and continuity (Oskamp 124).
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188:. Since the 1980s de Vries got involved in the organization of the STAMP-concerts, in cooperation with
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Borges' idea to create alternative histories in his novels highly fascinates de Vries. In his trilogy
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883:, music-theatre piece for female dancer, mezzo-soprano, male choir, small ensemble and organ (2013)
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In the 1970s de Vries got involved in the organization of the STAMP-concerts, in cooperation with
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661:, opera for 5 instrumental soloists, small choir and ensemble, libretto of Peter te Nuyl (1984)
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835:, music-theatre piece for baritone, mezzo-soprano, recorder, percussion and cimbalom (2007)
565:, for brass, percussion, electronic instruments and five solo string instruments (1972-'73)
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59:. From 1965 to 1972 he studied piano, theory and composition on the conservatory of
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583:, for four-part mixed choir and orchestra with choir and percussion ensemble (1973)
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443:. The title refers to a passage form the book. De Vries also uses three poems by
369:(1991) de Vries combines musical material from the first two works (Oskamp 122).
365:(1988–1989) deals with a re-invention of folk music. The last work of the three,
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From 1972 to 1981 de Vries started to teach theory at the former conservatory of
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685:, for solo soprano, mixed choir, 6 instrumental soloists and orchestra (1986)
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in close cooperation with de Vries. The title of the opera is an allusion to
361:(1989) deals with an alternative reconstruction of music from the antiquity.
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192:. Since the 1980s de Vries has also been active, together with the composer
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32:(born 15 July 1944) is a Dutch composer. De Vries taught composition at the
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Deurzen, Patrick van. On Random Water: "A King, Riding" by Klaas de Vries,
264:
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in 1979. Among his many students at this school, today also known as the
301:
87:
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384:(1996) for a cappella choir. This and other poems return in his opera
110:
63:. He continued studying composition from 1972 at the conservatory of
454:
281:
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Areas, Bewegingen, Follia, Discantus, Phrases (Composers' Voice)
1100:
968:
Diafonía, Sub nocte per umbras, De
Profundis (Composers' Voice)
391:
De Vries' also works closely together with authors. His opera
927:
Schneeweisz, Oswin. K. de Vries: Music must seduce the ear,
781:, version for piano and 6 instrumentalists (1998, rev. 2003)
372:
A further source of inspiration is the
Portuguese author
910:. Amsterdam: Amsterdam University Press, 2000, 388-391.
936:
376:, whose poems de Vries uses regularly. Pessoa's poem
934:
Wenekes, Emile and Mark
Delaere ed. Klaas de Vries,
547:, for flute ensemble or other instrumentation (1971)
263:
De Vries' further influences came from the music of
733:, for alto-recorder, bass-recorder and piano (1992)
553:, for 4 trombones and 3 piano's (amplified) (1971)
355:De profundis, ...sub nocte per umbras..., Diafonía
288:style and its static harmonic blocks. In his work
1413:Academic staff of Codarts University for the Arts
357:(1988–1991), de Vries reconstructs the past. The
1112:
8:
703:, for two sopranos and two pianos (1988-‘89)
637:, two small pieces for string quartet (1979)
952:. Brussel: Bernard Foccroulle, 1996, 38-41.
679:, 5 microtonal works for harpsichord (1985)
1119:
1105:
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993:The contemporary harpsichord (NM Classics)
941:Wind, Thiemo. Opera "Wake" schept ruimte,
823:, concerto for violin and orchestra (2005)
697:, for two sopranos and ensemble (1988-‘89)
380:de Vries is used by de Vries for his work
889:, for piano trio and mezzo-soprano (2013)
775:, concerto for piano and orchestra (1998)
749:Déploration sur la mort de Johan Ockeghem
721:, for bass-clarinet and percussion (1990)
20:
1009:
906:Klis, Jolanda van der. Klaas de Vries,
793:, for mezzo-soprano and 8 cellos (1999)
601:, for wind instruments and piano (1977)
1408:Codarts University for the Arts alumni
887:All that we love is bound for the past
787:, for mixed orchestra and choir (1999)
737:Eclips (Hommage à Alexandre Scriabine)
643:, for large choir and orchestra (1980)
559:, for tenor saxophone and piano (1972)
757:, scenic oratorium in 3 parts: (1995)
635:Das Lebewohl? oder ... das Wiedersehn
513:and Schönberg Ensemble, conducted by
217:De Vries developed a fascination for
7:
996:Osiris trio and guests (NM Classics)
920:Schönberger, Elmer. Klaas de Vries,
917:. Amsterdam: Mets &Schilt, 2003.
803:Preludium - Interludium – Postludium
541:, for orchestra and 2 piano's (1970)
1074:Biography at MCN Muziekencyclopedie
867:, for ensemble and electronics (by
805:, for 23 string players (1996-2000)
763:, for mixed a cappella choir (1996)
673:, for voice and 4 accordions (1985)
631:, 3 pieces for 3 small harps (1979)
571:, for low string instruments (1973)
908:The Essential Guide to Dutch Music
308:(1971), in which he re-introduced
14:
938:. Brugge: Die Keure, 2006, 28-31.
799:, for orchestra (2000, rev. 2005)
727:, for large wind orchestra (1991)
607:, for flute and percussion (1978)
490:, is made out of combinations of
98:(1982) and in 1998 for his opera
962:A King Riding (Composers' Voice)
861:, for symphonic orchestra (2011)
667:, for ensemble (1984, rev. 1992)
665:Instrumental music from Eréndira
619:, suite for 11 instruments(1979)
462:. The fundamental chord used in
877:, for piano and ensemble (2013)
847:, opera in 4 acts. Libretto by
533:Chain of changes for piano solo
248:Another technique learned from
1383:Dutch male classical composers
950:Klaas de Vries: A King, Riding
881:Honderd nachten, honderd jaren
769:, elegie for viola-solo (1998)
36:until his retirement in 2009.
1:
948:Zuidam, Rob. A King, Riding,
829:, for a cappella choir (2006)
709:, for violin and piano (1989)
649:, for string orchestra (1980)
527:Three pieces for wind quintet
312:' style in a modern setting.
233:is the largest influence for
196:, in the organization of the
106:for string orchestra (1996).
821:Concert voor viool en orkest
779:Concert voor piano en orkest
773:Concert voor piano en orkest
327:(1984) he uses the novel of
94:twice: in 1984 for his work
47:was born on 15 July 1944 in
999:Cappella Amsterdam (Q disc)
817:, for brass ensemble (2004)
715:, for large ensemble (1989)
625:, for horn and piano (1979)
613:, for 15 instruments (1979)
577:, for wind orchestra (1973)
397:Enschede fireworks disaster
1429:
833:Pa pa pa Vrouw vrouw vrouw
713:...sub nocte per umbras...
359:...Sub nocte per umbras...
284:influenced him to abandon
1388:Dutch classical composers
1134:
589:, for 4 saxophones (1974)
161:, Felipe Perez Santiago,
1223:Gottfried Michael Koenig
1128:Matthijs Vermeulen Award
482:Compositional techniques
121:, are Thorkell Atlason,
92:Matthijs Vermeulen Award
67:with the Dutch composer
913:Oskamp, Jacqueline ed.
492:dominant seventh chords
395:(2010) is based on the
841:, for orchestra (2007)
701:Diafonía - la Creación
695:Diafonía - la Creación
655:, for orchestra (1982)
466:
439:by the English author
409:by the Irish novelist
329:Gabriel García Márquez
213:From his studies with
34:Rotterdam Conservatory
26:
25:Klaas de Vries in 2006
1393:People from Terneuzen
1082:Fondspodiumkunsten.nl
839:Just Numbers, Dancing
811:, for ensemble (2003)
745:String quartet (1993)
739:, for ensemble (1992)
458:
388:(1996) (Wenekes 28).
51:, in the province of
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1325:Boudewijn Tarenskeen
931:, xxvi (1992), 8-12.
922:The New Grove online
903:, li (1996), 214–18.
159:Florian Magnus Maier
155:Astrid Kruisselbrink
123:Antonio Pinho Vargas
875:Tweede Pianoconcert
851:and electronics by
797:Antagonistische ode
425:Multiple identities
413:(NPSpodium, Wind).
319:Literary influences
204:Compositional style
198:Unanswered Question
169:, Jian-Hua Zhuang,
127:António Chagas Rosa
90:. De Vries won the
1307:Peter-Jan Wagemans
1241:Peter-Jan Wagemans
827:Stimmen-Engführung
743:Strijkkwartet nr.1
677:Murder in the dark
593:Quasi una fantasia
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194:Peter-Jan Wagemans
147:Juan Felipe Waller
27:
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1361:Calliope Tsoupaki
1319:Michel van der Aa
1047:Writers Unlimited
945:, 17.05.2010, 13.
545:Five-part fantasy
515:Reinbert de Leeuw
497:In melodic sense
348:Jorge Luis Borges
143:César de Oliveira
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1253:Louis Andriessen
1247:Klas Torstensson
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707:Songs and dances
689:Sonata for piano
286:The Hague school
245:(Oskamp 11-29).
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239:Louis Andriessen
235:The Hague school
209:Early influences
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1398:1944 births
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972:Bart Berman
957:Discography
581:Tegenzangen
411:James Joyce
344:Thomas Mann
340:Dr. Faustus
104:Interludium
72: [
57:Netherlands
1377:Categories
1349:Kate Moore
1079:(in Dutch)
1071:(in Dutch)
1004:References
859:Providence
611:Bewegingen
429:The opera
417:The opera
334:De Vries'
290:bewegingen
231:Stravinsky
219:Stravinsky
179:Rob Zuidam
167:Edward Top
984:Loevendie
974:, piano:
929:Key Notes
761:Abdicaçao
671:4 tango's
653:Discantus
605:Impromptu
449:The Waves
436:The Waves
382:Abdicaçao
378:Abdicaçao
310:Perotinus
298:symbolism
254:serialism
115:Rotterdam
96:discantus
84:Stuttgart
65:The Hague
61:Rotterdam
49:Terneuzen
40:Biography
1289:Ron Ford
871:) (2012)
719:Berceuse
659:Eréndira
539:Refrains
488:figure 1
460:figure 1
363:Diafonía
325:Eréndira
258:Refrains
102:and the
1052:16 June
1027:16 June
980:Hekster
791:Litanie
683:Phrases
647:Tombeau
569:Kwartet
551:Organum
306:Organum
302:Baroque
88:Germany
55:in the
53:Zeeland
1363:(2021)
1357:(2019)
1351:(2017)
1345:(2015)
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990:(Golf)
976:Vriend
855:(2010)
815:Versus
731:Umbrae
691:(1987)
575:Kadens
563:Follia
535:(1968)
529:(1968)
445:Pessoa
336:sonata
265:Varèse
223:Bartók
111:Twente
785:Aleph
641:Areas
623:Rondo
521:Works
282:Berio
76:]
1054:2024
1029:2024
845:Wake
809:Ghaf
617:Kotz
557:Mars
511:ASKO
393:Wake
227:Berg
225:and
177:and
473:In
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300:of
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