Not all composers believe in God but they all do believe in Johann Sebastian Bach. In this concert series 24 brand new piano compositions were made by contemporary Amsterdam composers such as Louis Andriessen, Willem Jeths, Michael Moore among others. Lucanet asked them to choose a prelude -a key- from the Wohltempered Klavier I as their companion piece.They both will be played, first Bach’s prelude than the contemperary one. New cultural heritage…
All -contemporary- composers in this series are
- A – Louis Andriessen – Fanfare voor de 24Preludia
- a minor – Caroline Ansink – Sdamse Plude
- B flat – Loek Dikker – South Side Ground Zero Boogie Blues
- b flat minor – Gijs van Dijk – prelude in B flat minor
- B – Christina Viola Oorebeek – au départ de B
- b minor – Boudewijn Tarenskeen – no. XXIV
- C – Joost van Son – Prelude in C groot
- c minor – Rosalie Hirs
- C sharp – Willem Jeths – Chiaroscuro
- c sharp minor – Calliope Tsoupaki
- D – Sinta Wullur – Prelude Djawa
- d minor – Roderik de Man – Praeludium d Moll, oder…?
- Es – Pieter Smithuijsen – Siebe Mol
- es min – Els Klein – Wals
- E – Oene van Geel – E in a Cage
- e minor – Allan Segall – Prelude in E minor
- F – Maarten van Norden – Preludium
- f minor (Part II) – Lorre Trytten –
preludeTango in f minor
- F sharp – Morris Kliphuis – Restless Legs Prelude
- f sharp minor – Reza Namavar – Prelude in fis minor
- G – Jeff Hamburg – Spirits in G
- g minor – Jacques Bank – Prelude
- A flat – Michael Moore – Divergence
- g sharp minor – Natalia Dominguez Rangel
Louis Andriessen – Fanfare for the beginning and the end of the 24Preludia project of Frederique Lucanet.
Caroline Ansink – It seemed a nice challenge to see in how far I could manage my own musical language, if the number Pi would determine the pitch, the rhythm and the harmony. The result is certainly Bach-like, although musical history, insofar it presented itself to us, is very noticable in it. For fun I added a Bachish repeat but timewise -like many other repeats- it probably will have the same fate.
The subtitle of the Sdamse Plude is ‘tribute to Ton Koopman’, whom as a harpsichordist and organ player dedicated most part of his live to Bach. For the good listener and the Koopman fans the title is revealing but also refers to the limited resources that are available for the Dutch classical music in the last years.
Loek Dikker – The South Side is situated in Chicago, USA. In the twenties of the past century the blues and the boogiewoogie came to flourish in this area. The left hand is the fast train of the dance music, music halls full of joyful dancing people. On Ground Zero, New York, there will never be joy ever more. That frustration is very distinguishable in this piece, that is composed in response to 9/11 for the citizens of New York. Loek Dikker himself established a big reputation as a jazz-pianist and film composer.
Gijs van Dijk – “I like b flat minor, a good key with lots of flats. Much nicer than for instance G major. She asked for a short-easy-accessable-piece with here and there some vocals for more joy”.
Christina Viola Oorebeek – In the wake of the last sounds of the Prelude in B major, processions of chords move slowly upwards. The last ascension is anchored by a somewhat disorienting bass note on C sharp – an arrow aimed at a new starting point.
Boudewijn Tarenskeen – a girl with love sickness excercises Bach faithfully.
Joost van Son – When the key of C major is on the composer’s desk, thoughts of clarity and accessibility rise. Children’s songs and etudes. Subconsequently working with this the threat of dullness, and lack of here-and-now appear: this is not original. In this Prelude of C Major I tried to make both ends meet. Childlike simplicity and modern adventure in hardly 70 bars.
Willem Jeths – Chiaroscuro is about dark and light/clair-obscur. This effect is translated to the piano. Several episodes that gradually slow down and finally solidify into the overtones.
Sinta Wullur –Coming from Indonesia myself I tried to make Bach’s Preludes in D sound like the Javanese gamelan orchestra. Using the same notes but sometimes with different accents, stretched out, shranked, doubled, but always with the gamelan formulas.
Roderik de Man – Frederique asked me to choose a key for the Prelude and I fell for d minor. That is where the piece starts, but soon it scatters in all directions, but it’ll turn out all right in the end.
Pieter Smithuijsen – I have no affinity with astrology except for now: Bach and I are both born on the 21st of May. Bach is an ‘Old Fish’(12th sign) and I am A ‘Young Ram’ (1st sign). The prelude in E flat major of Bach is the longest of all, very calm, flowing, well-balanced and polyphonic. As a contrast ‘Miebe Mol’ (the name is derived from the French Mi Bémol, meaning E flat major), jumpy, complicated rhythms, with an air of improvisation.
Allan Segall – Inspiration for the Prelude in E minor is number X of J.S. Bach’s Book One of Das Wohltemperierte Klavier. In my hands the soft and flowing accompaniment becomes jazzy and asymmetric. The soundscape of my Prelude in E minor – dry and metronymical – is derived from Glenn Gould’s Bach-playing.
Maarten van Norden – A Bachish motive, almost an invention, is gradually infiltrated by a contemporary funky motive. At first they are independent, but at the end, even cooperation seems possible.
Lorre Trytten – The F minor Prelude from the second part of the Well-tempered Clavier is one of my favorite pieces. I hear nostalgia. I hear a search for the resolution of a problem: a conversation between—who and whom? The composer and God? Present and past? The ever-delayed cadences make me think of a tango, the dance that exudes nostalgia despite its energetic rhythm, the dance which seeks—sometimes desperately—to resolve a problem. In my tango you might hear a conversation between the left and right hand. Or is it between pianist and audience? Composer and pianist? Present and past?
Morris Kliphuis – We are used to think of music in terms of a ‘story’, chronological, with a beginning and an end. But there are other options. Lately I am investigating the idea that a musical object, for instance a pattern or a chord, can also give a spatial experience, like a spot where you could be present, imaginary. In my prelude that is also the starting point. The piece consists of different little loops that – in different rhythms- sound together. A box full of little animals, in which you can nose about for a while.
Reza Namavar – This prelude is a French overture. It is based on the same chords all the time, and tries to get started but seems to fail. Only towards the end there is light at the end of the tunnel.
Jeff Hamburg – Spirits in G (2018) There are spirits all around us. Usually we do not notice them. We have to take our time and open our eyes and ears to notice them. Sometimes we can discern spirits when all of the noise settles. This piece is written for Frederique Lucanet and dedicated to my mother, Jeannine, who is celebrating her 90th birthday.
Jacques Bank – In the original g-minor-prelude of Bach all 12 tones of the chromatic scale are used. In my prelude, also g minor, one is missing: the c sharp. To use that note very poignantly in the end I make up for that. Therewith I am faithfull to one of the groundrules of the twelvetonemusic, just like Bach. Who would have thought it?
Michael Moore – Bach wrote preludes in all keys of the cirkel of fifths starting with C. In Divergence Michael Moore starts with both hands in D major, they take off in opposite directions to finally meet in A flat major. But then…
Natalia Dominguez Rangel – I decided to present my G# minor prelude in the shape of a sonogram.This prelude focuses on my work as a sound artist and my research on the politics of frequencies (any form of sound) in public spaces. Questions like: How does sound has been used as weapon, entertainment and in science, were very present in the process. As a result I decided this prelude should not be played because it would not represent my artistic thoughts.
Oene van Geel – Assuming to start from the Bach’s prelude, the music I wrote more and more curled up in the direction of ‘In a landscape’ by John Cage. A small miniature with a few clear idea’s, that’s what it is.