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De Zee II – Jan Boerman / Cello Collective / La Linea / Improv Session


Jan Boerman–   De Zee II – (17′)
Reconstructed and diffused by Kees Tazelaar

Cello Collective
Performed by Liutauras Zilaitis, Falou Lansink, Maria Skandali, Emilio Lara Vargas, Junya Nomura, Julia van Leeuwen, Laura Roura Foxa, and Alona Kliuchka
Conducted by Kent Hugo Moussault

Julian Maple de OliveiraChopiniana (7′)

Wesley TroegerNever is Once (8′)

Aleksandre KordzaiaSlow Movement (6′)

Vitali KaragkezidisMaple Syrup (7′)
“Oh, I’ve had such a curious dream!’ said Alice, and she told her sister, as well as she could remember them, all these strange Adventures of hers
that you have just been reading about; and when she had finished, her sister kissed her, and said, `It was a curious dream, dear, certainly: but
now run in to your tea; it’s getting late.’ So Alice got up and ran off, thinking while she ran, as well she might, what a wonderful dream it had been.”

Celia SwartLost in Tokyo (7′)
One day in Tokyo
Lost without direction

Streets and buildings
Unfamiliar like your thoughts

People and sounds
Unexpected like your being

One day in Tokyo
Lost without you


La Linea
New compositions by Domenic Jarlkaganova, Amba Klapwijk, Alexandros Gkonis, Il Hoon Son and Cornelis de Bondt for Viola ensemble.

Performed by Mikhail Zemtsov, Maria Angeles Chaparro Fuentes, Elena Santana de la Rosa, Sophie Vroegop, Anastasia Krivosheina and Ursula Skaug.

Improv Session
Led by Oscar Jan Hoogland

De Zee II
With the eye to a new composition, I decided to continue the experiments with the Golden Section which had already begun to take shape during the creation of Alchemie 1961. In this work (De zee) I wanted to set out from a nearly unfathomable complex in which a form would have to crystallize and in which, through divisions of the whole, smaller structures would emerge. The form of the work is determined by a Golden Section arch scheme but it is as if the piece exceeds the boundaries of the scheme; there is no beginning and no end.
My experiments of the years 1959/1960 that concerned noise sound, i.e. sounds in which no tone, or practically no tone can be discerned, have found their place in De zee. The tone sounds in the piece are in fact ‘accidental’. The tone gives the sound a certain sheen, it ‘breaks through’ but has no significance on its own.
After having completed De zee I was at a loss for a proper title. The name was suggested by Dick Raaijmakers. He wrote in a commentary: “This is the first work to feature an overall form capable of absorbing the movements of the timbre in such a way that they express the form itself: form-conceiving sounds fill a sound-conceiving form. The overall form is akin to Le Corbusier’s Modulor system and implemented as a system of relationships, in which time proportions are both adjacent and superposed. This is done in such a way that the largest proportion corresponds with the smallest, just as the tide of the sea is the ‘overall form’ of every separate wave in motion…”
There exists another version of this piece called De zee II. This is a shortened version based on the Golden Section of alternative mixes of the original composition.

Based on Boerman’s programme notes for De zee in the booklet of The Complete Tape Music of Jan Boerman, CV-NEAR 04/05/06/07/08

Jan Boerman
Jan Boerman was born in The Hague on June 30, 1923. He studied at the Royal Conservatoire in his hometown, with Léon Orthel (piano) and, from 1945, with Hendrik Andriessen (composition). As of 1956, Jan Boerman worked in the electronic studios of Delft University of Technology, Utrecht University and of Royal Conservatoire in The Hague , where he has also taught electronic composition (after 1974) and piano.
Boerman has composed a number of orchestral and chamber music works; the main part of his oeuvre, however, consists of electronic music. He has been one of the few composers who persevered in composing for tape. It wasn’t until 1976 that Boerman ventured to include “live” sounds in his work: the result was a preparatory study for a Vocalise. It was followed by an “orthodox” tape: Kompositie 1979. For the ensemble Het Nieuwe Leven he composed Weerstand [resistance, 1982] for tape and percussion, and later Ontketening [unchainment, 1983] for tape and metal instruments. Boerman has also written electronic ballet music, including De touwen van de tijd [The Ropes of Time] and Monument voor een gestorven jongen [Monument for a Dead Boy]. Muziek voor slagwerk en orkest [music for percussion and orchestra, 1991] was performed during the Holland Festival of 1991.
In 1982 Jan Boerman was awarded the Matthijs Vermeulen Prize for his entire oeuvre. In 1997 he was awarded the Willem Pijper Prize for Vocalise 1994. His complete tape music was released in 1998 on cd (CV-NEAR 04/05/06/07/08).

April 10 19:30


Arnold Schoenbergzaal, Royal Conservatoire

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