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Андриссен Луи

Андриссен Луи


Родился в музыкальной семье, сын композитора Хендрика Андриссена (1892—1981), композиторами стали также его брат и сестра. Учился в Гаагской Королевской консерватории у своего отца и Кееса ван Барена, а также в Милане и Берлине у Лучано Берио (1962—1965). Испытав влияние Стравинского, американских минималистов, джаза, пришел к экспериментальной антиромантической манере, отвергающей традиционный симфонический оркестр. Работал в кино (см.:[1]). Сотрудничал с Питером Гринуэем (оперы «Роза: Смерть композитора», 1994, и «Письма Вермееру», 1999, написаны Андриссеном на его либретто), крупными нидерландскими поэтами и прозаиками — Хьюго Клаусом, Харри Мюлишем, Люсебертом, Сибреном Полетом и др.


Nuit d'été (1957) for piano 4 hands

Séries (1958) for 2 pianos

Nocturnen (1959) (text by the composer) for 2 sopranos, orchestra

Trois Pièces (1961) for piano left hand

Ittrospezione I (1961) for piano 4 hands

Joli commentaire (1961) for piano 4 hands

Étude pour les timbres (1962) for piano

Triplum (1962) for guitar

Ittrospezione II (1963) for large orchestra

Registers (1963) for piano

Ittrospezione III (Concept II) — Fragment (1965) tenor saxophone ad libitum, 2 pianos (section of Ittrospezione III [Concept II]; may be performed separately)

Souvenirs d’enfance (1966) for piano

Anachronie I (1966-67) for large orchestra

The Garden of Ryoan-gi (1967) for 3 electronic organs

Choralvorspiele (1969) for barrel organ

Anachronie II (1969) for oboe, small orchestra, 1969; Hoe het is, 52 strings, live electronics

Reconstructie (1969) (with Reinbert de Leeuw, Misha Mengelberg, Peter Schat, Jan van Vlijmen, libretto by Hugo Claus, Harry Mulisch) Morality opera for soloists, 3 mixed choruses (4 voices each), orchestra (11 winds, 7 brass, 2 guitars, 11 keyboards, 10 strings), live electronics

De negen symfonieën van Beethoven (1970) for ice cream bell, orchestra

Spektakel (1970) for improvisational ensemble, small orchestra (12 winds, 4 horns, 6 percussion)

In Memoriam (1971) for tape

Canzone 3.Utinam (1972) (text from the Book of Job) for soprano, piano, 1962; Thanh Hoa (text by Nguyen Thay Mao), voice, piano

Il Duce (1973) for tape

Il Principe (1974) (text by Niccolo Machiavelli) for 2 mixed choruses, 8 winds, 3 horns, tuba, bass guitar, piano

Wals (1974) 1974 for piano

Symfonieën der Nederlanden (1974) for 2 or more symphonic bands (minimum 32 players)

De Staat (1972-74) (text by Plato) for 2 sopranos, 2 mezzo-sopranos, 4 oboes (3rd, 4th + English horn), 4 horns, 4 trumpets, 3 trombones, bass trombone, 2 harps, 2 electric guitars, 4 violas, bass guitar, 2 pianos

De Staat (1972-76) for 2 pianos (version of vocal work)

Nederland, let op uw schoonheyt (1975) for symphonic band

Workers Union (1975) for any loud sounding group of instruments

Mattheus passie (1976) (text by Louis Ferron) Music theatre work for 8 mixed voices, 2 oboes (both + English horn), Hammond organ, string quartet, double bass

Hoketus (1975-76) for 2 panpipes, 2 alto saxophones ad libitum, 2 bass guitars, 2 pianos, 2 electric pianos, 2 congas

Orpheus (1977) (text by Lodewijk de Boer) Music theatre work for 8 mixed voices, lyricon, electric guitar, bass guitar, synthesizer, percussion

Symphonie voor losse snaren (1978) for 12 strings

Laat toch vrij de straat (1978) (text by Jaap van der Merwe) for voice, piano

Hymne to the Memory of Darius Milhaud (1978) (version of chamber work)

Felicitatie (1979) for 3 trumpets

Mausoleum (1979 rev. 1981) (texts by Mikhail Bakunin, Arthur Arnould) for 2 high baritones, orchestra (12 brass, 2 harps, cimbalom, 2 pianos, 2 percussion, minimum 10 strings, bass guitar)

George Sand (1980) (text by Mia Meyer) Music theatre work for 8 mixed voices, 4 pianos

Un beau baiser (1980) for mixed chorus

De Tijd (1979-81) (text by St.Augustine of Hippo) for female chorus, percussion ensemble, orchestra (6 flutes, 2 alto flutes, 3 clarinets, contrabass clarinet, 6 trumpets, 2 harps, 2 pianos, Hammond organ, strings, 2 bass guitars)

Commentaar (1981) (text by Wilhelm Schon) for voice, piano

Ende (1981) for 2 alto recorders (1 player)

La voce (1981) (to a text by Cesare Pavese) for cello, voice

Disco (1982) violin, piano

Overture to Orpheus (1982) for harpsichord

De Snelheid (1982-83 rev. 1984) for 3 amplified ensembles

Y después (1983) (text by Federico Garcia Lirca) for voice, piano

Menuet voor Marianne (1983) for piano

Trepidus (1983) for piano

Doctor Nero (1984) Music theatre work

Berceuse voor Annie van Os (1985) for piano

De Lijn (1986) for 3 flutes

Dubbelspoor (1986 rev. 1994) Ballet music for piano, harpsichord, celesta, glockenspiel

De Materie (1984-88)(texts from the Plakkaat van Verlatinge, Nicolaes Witsen, David Gorlaeus, Hadewijch, M.H.J.Schoenmaekers, Madam van Domselaer-Middelkoop, Willem Kloos, Maria Curie, Françoise Giroud) Music theatre work for soprano, tenor, 2 female speakers, 8 amplified mixed voices, amplified orchestra (15 winds, 13 brass, harp, 2 electric guitars, 2 pianos [one + electric piano], off-stage upright piano, celesta, 2 synthesizers, 6 percussion, minimum 9 strings, bass guitar. Two of its four sections may be performed separately as concert works: [2] Hadewijch, [3] De Stijl

De Toren (1988, rev. 2000) for carillon

Nietzsche redet (1989) (text by Friedrich Nietzsche) for speaker, alto flute, English horn, clarinet, bass clarinet, bassoon, 2 violins, viola, 2 celli, double bass, 2 pianos

Facing Death (1990) for amplified string quartet

Dances (1991) (text by Joan Grant, choreography by Bianca van Dillen) For soprano, small orchestra (amplified harp, amplified piano, percussion, strings). May be performed as a concert work.

M is for Man, Music, Mozart (1991) (texts by the composer, Jeroen van der Linden, Peter Greenaway) for female jazz voice, flute (+ piccolo), soprano saxophone, alto saxophone, tenor saxophone, horn, 3 trumpets, 2 trombones, bass trombone, double bass, piano (TV score; may be performed as a concert work with one additional song)

Lacrimosa (1991) for 2 bassoons

Hout (1991) for tenor saxophone, electric guitar, piano, marimba (+ woodblocks)

Romance voor Caecilia (1991) for piano

Nadir en Zenit (1992) improvisations on poems by Sybren Polet for voice, piano (+ synthesizer)

…not being sundered (1992) (text by Rainer Maria Rilke) for soprano, flute, cello

Song Lines (1992) for 3-6 saxophones

Deuxième chorale (1992) for music box

The Memory of Roses (1992) for piano (+ toy piano)

Chorale (1992) for piano

M is Muziek, Monoloog en Moord(1993) (text by Lodewijk de Boer) Music theatre work

Lied (1993) for piano

Rosa: The Death of a Composer (1993-94) (libretto by Peter Greenaway) Opera for 2 sopranos, tenor, 2 baritones, female speaker, 8 mixed voices, orchestra.

Een lied van de zee (1994) (text by Hélène Swarth) for female voice

Zilver (1994) for flute, clarinet, violin, cello, piano, vibrqphone, marimba

Base (1994) for piano left hand

Odysseus’ Women (1995) (text by Homer, choreography by Beppie Blankert) for 2 sopranos, 2 altos, sampler

De komst van Willibrord (1995) for carillon

To Pauline O (1995) for oboe

Machmes Wos (1996) for voice, piano

Trilogie van de Laatste Dag (1996-97) (each of its three sections may be performed separately: (i) The Last Day (texts by Lucebert, folksong A Woman and Her Lass) for boy soprano, 4 male voices, orchestra; (ii) TAO (texts by Laozi, Kotaro Takamura) for 4 female voices, piano [+ voice, koto], small orchestra [5 winds, 2 horns, harp, piano (+ celesta), 2 percussion, minimum 14 strings]; (iii) Dancing on the Bones (text by the composer) for children’s chorus, orchestra, 1997)

De herauten (1997) for 3 horns, 3 trumpets, 3 trombones, tuba, timpani

Not an Anfang (1997) for piano

De eerste minnaar (1998) (text by Ton Tellegen) for boy soprano, organ, 1998 (section of music theatre work Oldenbarneveldt; may be performed as a concert work)

Tuin van Zink (1998) for viola, live electronics

Writing to Vermeer (1997-99) (libretto by Peter Greenaway) Opera for 2 children’s voices, 2 sopranos, mezzo-soprano, female chorus, orchestra (7 winds, 2 horns, 2 trumpets [2nd + bass trumpet], 2 harps, 2 electric guitars, cimbalom, 2 pianos, on-stage harpsichord, 2 percussion, minimum 22 strings), CD (music by Michel van der Aa)

Woodpecker (1999) for percussion

Image de Moreau (1999) for piano

Dirck Sweelinck Missed the Prince (1999) for harpischord

What Shall I Buy You, Son? (2000) for voice, piano

Boodschappenlijstje van een gifmengster (2000) (text by the composer) for vocalist (also writes), voice (may be performed as Shopping List of a Poisoner

Inanna’s Descent (2000) for mezzo-soprano, piccolo, oboe, violin, piano, 2 percussion ensembles (4-12 total players)

The New Math(s) (2000) (text by Hal Hartley) for soprano, transverse flute, violin, marimba, CD (music by Michel van der Aa), 2000 (film score; may be performed as a concert work)

Feli-citazione (2000) for piano

Passeggiata in tram in America e ritorno (2001) (text by Dino Campana) for female Italian voice, 3 trumpets, 3 trombones, electric guitar, electric violin, double bass, piano, percussion, 1998 (also version for voice, flute, horn, 3 trumpets, 3 trombones, amplified violin, double bass, piano

De vleugels van de herinnering (2001) (text by Larissa Tiginachvili) for voice, piano

Fanfare om te beginnen (2001) for 6 groups of horns

La Passione (2000-02) (text by Dino Campana) for female jazz voice, violin, small orchestra (7 winds, 7 brass, electric guitar, cimbalom, 2 pianos, synthesizer, 2 percussion, 3 violins, bass guitar)

Very Sharp Trumpet Sonata (2002) for trumpet

Strijkkwartet No. 2, 'Tuin van Eros' (2002) for string quartet

Klokken voor Haarlem (2002) for piano, celesta, synthesizer, vibraphone (+ glockenspiel)

Inanna (2003) texts by Hal Hartley, Theo J.H.Krispijn) for 4 voices, 3 actors, mixed chorus, contrabass clarinet, 4 saxophones, violin, film (by Hal Hartley)

Letter from Cathy (2003) (text from a letter by Cathy Berberian to the composer) for female jazz voice, harp, violin, double bass, piano, percussion

Tuin van Eros (2003) for violin, piano

RUTTMANN Opus II, III, IV (2003) for flute, 3 saxophones, horn, 3 trumpets, 3 trombones, double bass, piano

Haags Hakkuh — The Hague Hacking (2003) for 2 pianos

Racconto dall’inferno (2004) (text by Dante Alighieri) for female jazz voice, small orchestra (8 winds, 6 brass, guitar, cimbalom, 2 pianos, 2 percussion, minimum 8 strings, bass guitar


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