Lonely the lamento of the cello floats over the destruction of the orchestra. The work ends with a Requiem, in which the orchestra blows itself up, as it were. In The Forest in April you can hear how the cellist influences the orchestra and how the orchestra slowly mutates into a monstrosity that collapses under its own weight. Even here the composer mixes the timbres so skilfully that beauty lurks even in the discordant sounds.”ĭe Graaff: “In the composition, the relationship between soloist and orchestra is central as a metaphor for the relationship between man and nature. Angular orchestral motifs alternate with the cello’s seething dissonance. Enthusiastically, De Volkskrant writes: “After a solo cadence that lasts for minutes, in which Fridman is allowed to indulge her qualities as a playing beast, a fierce battle ensues. In March 2021 The Forest in April had its premiere in Utrecht, performed by Maya Fridman and the North Netherlands Symphony Orchestra conducted by Nicolò Foron. De Graaff was commissioned to compose a new work for Fridman, which was later titled Concerto no. Through the artistic leadership of this venue, contact was made with the composer and a new initiative came about, with support from the Fonds Podiumkunsten. In season 2020-2021 cellist Maya Fridman was artist in residence at the Utrecht-based TivoliVredenburg. He also likes to make use of theatrical elements.įor cellist Hans Woudenberg, De Graaff wrote Rimpelingen (“ripples”) in 2017 on the occasion of his farewell to Asko|Schönberg, a work that was received with joy by the trade press. His music is richly orchestrated, melodious and transparent at the same time. De Graaff is not part of the fashionable minimal movement, but composes ‘old-fashioned’ complex. He successfully concluded his studies at the Royal Conservatory with the opera All Rise. Composer Jan-Peter de Graaff (Terschelling, 1992) studied with Klaas ten Holt, Guus Janssen, Calliope Tsoupaki and Diderik Wagenaar.
0 Comments
Leave a Reply. |