24 april, 1999 - Posthoornkerk, Amsterdam

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Ensemble Insomnio


Martijn Padding--Shuffle

Ketty Nez--Machaut Mirrored

Patrick Clark--Rhyming Shapes


Magnus Robb--The Ancient Language of the Birds

Rozalie Hirs--Sacre Monte

Lotta Wennäkoski--árva

fluit       Marit Oldenburg
clarinet    Fie Schouten
            Vicky Wright
hobo        Hannneke Ramselaar
fagot       Casper Snikkers
hoorn       Alex Thijssen
trompet     Marije Koopmans
mandoline   Martine Sikkenk
gitaar      Machiel Van Egdom
harp        Idske Bakker
piano       Sonsoles Alonso
            Dani╬l Kramer
percussie   Rita Skult╦ty
            Ulrich Pľhl
drums       Bernt Nellen
viool       Karina Korevaar
            Muri╦l Van hemel
            Tim Kliphuis
            Eva Groslot
            Marleen Zoutman
            Zo╦ Eborn
            Sarah Hochstenbach
altviool    Irma Haverkamp
            Laurens Van Baalen
cello       Ivana Poparic
            Lisbeth Bos
            Daniela Bock
contrabas   Martin Kuiper
zanger      Kirsty Hopkins
saxofoon    Bas

dirigenten  Rick Sims (Nez)
            Ulrich Pľhl (Padding, Wennökoski)
            Petros Ovsepian (Hirs, Robb)
            Patrick clark (Clark)


Rhyming Shapes (1995) - Patrick Clark

I. Lonely is the Monk
II. That In-Between Time
III. Myriad Libidinal Dance Figures

for flute, clarinet, violin, cello,
piano and percussion

It is often only after hearing a piece of music that we as listeners can
truly engage with it in an active sense. Through recollection we have the
freedom to dwell selectively on the moments that we are most attracted to
and are able to find connections which are not necessarily explicit in the
work as object. In a word, music becomes "subjective" only after it is
heard. In the first movement of Rhyming Shapes I have explored this issue
as it relates to my experience of 'Round Midnight' by Thelonious Monk, and
have allowed my own stream of consciousness to fragment and reconstruct the
head tune.

In the second movement, "That In-Between-Time," the music deals with the
anticipation of a moment rather than the moment itself. Through
concentration on "anticipation," the arrival of the moment as "object" is
blended with the uncertainty of subjective expectation, and dissipation of
the moment then leads to new expectations. The third movement, "Myriad
Libidinal Dance Figures," responds to this dreamy expectation through its
clear and bright presentation of earlier material in an ecstatic visceral

Machaut Mirrored - Ketty Nez

Written in 1997-1998 while working with Louis Andriessen in Amsterdam,
MACHAUT MIRRORED is a brittle, scintillating fracture of Machaut's ballade
"De triste cuer - Quant vrais amans - Certes, je di." As it were, this
piece joins a series of compositions which unintentionally concern
themselves with abstract reinterpretations of "found objects" from other
musical environments, brusquely decontextualized and dessicated, little
trace of the original associations (in this case once intensely emotional)
. . . but perhaps enough "scent" lingers to spark a series of fresh

The Ancient Language of the Birds - Magnus Robb

The Ancient Language of the Birds takes its inspiration from Siberian
tales of shamanic initiation in which the initiate, in a vision, is
abducted and reduced to bones by carnivorous birds, before being
reconstructed and revitalised in his or her new identity as a shaman.
Through this rite of passage the shaman makes the acquaintance of the
destructive and healing spirits which are believed to assist later
during shamanic journeys to other worlds. In my piece, it is rather the
relationship between sound and meaning, body and soul in music and words
which undergoes this de/reconstructive ordeal. The names of body parts
are thought to be among the oldest words in modern languages, and after
reconstructing their changing forms through the ages, many of the oldest
roots, the bare bones, seem likely to have been onomatopoeic. An obvious
example is the prominence of nasal and sibilant sounds in words
associated with the nose and scent. Similarly, the body is the source of
the rudimentary breath and pulse of music. In revitalising the
relationship between word and music, ancient cries and dances of birds
are given an essential role: the clever and capricious raven, the wry
and agile black and red kites and finally the mighty lammergeyer, whose
majestic flight is powered by a staple diet of bones!

árva - Lotta Wennäkosk

The work Arva for chamber orchestra was written in 97. The title
refers to a Hungarian folk song heard in the end of the piece and
means "orphan" or "abandoned". Arva is written and dedicated to the
memory of the composer's grandmother.

Sacre Monte - Rozalie Hirs

Begin 1999 Sacro Monte in een uitvoering van het Ives Ensemble binnen de single CD serie "present" bij het Centrum voor Nederlandse Muziek (CNM).

Shuffle - Martijn Padding

A shuffle is a slow dance step in blues music. In this piece I wanted to transform the heterogeneous character of a chamber ensemble into that of a compact band. Shuffle consists of two layers. The lower one, with its chords by the piano, strings and harp does not develop itself. The higher layer, the melody, develops itself in six phases. It becomes higher and faster until the tenor saxophone reaches its "flageolette register". This is extremely difficult for the saxophone player, but that was meant to be because I wrote the piece for Arno Bornkamp when he was studying for the "Nederlandse Muziekprijs". In the process, the piece accelerates and the musicians come together in a heavy shuffle, which falls apart in the end, but two of them don't want to stop. The proportions in Shuffle are based on the numbers of Arno Bornkamp's telephone number.

The Concert Series:

Concerten I t/m IV Composers' Collective is a group of 21 young
professional and emerging composers, most of whom are living in the
Amsterdam area. The composers involved are approximately half from the
Netherlands and half international, coming from the U.S., Canada, Cuba,
Belgium, England, Scotland, and Switzerland. The Collective was
established in the spring of 1997 for the purpose of presenting a
composer-organized series of concerts, in which composers can have
performed whichever pieces they desire, free from the strictures of
instrumentation, time, or aesthetics which make so many other concert
situations less appealing. During our first season, 1997-98, we presented
four concerts in Amsterdam's Posthoornkerk. A fifth concert was presented
during the summer.
In the 1998-99 season we will be presenting six concerts. For some
we have invited guest musicians in order that we may have the opportunity
to write for specific players, while other concerts focus on a particular
type of music; in keeping with our original premises, however, anything may
appear on any concert.



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