Op 21 september 2012 om 19:30 tijdens het openingsconcert van Warsaw Autumn, Warschau, Polen, vindt de Poolse première plaats van Roseherte (2008) voor groot orkest en elektronische klanken. De uitvoerenden zijn Warsaw Philharmonic Orchestra en Pascal Rophé (dirigent).
De foto door Jan Bogacz toont de componist temidden van het orkest tijdens het applaus na afloop van de Poolse première van haar compositie Roseherte (2008).
Zie ook de programmatoelichting en Rozalie’s bio op de Warsaw Autumn website.
This work for a ninety-piece orchestra and one hundred and fifty electronic sounds borrows its name from the Middle Dutch mythical animal that lives in the depths of the heart. Roseherte (rose hart) is roused from her eternal sleep by the Occitan unicorn. They set out in the rain as the sun breaks through and rainbows appear in the silver-grey sky. They sing about the zeppelins and air balloons flying by. Along with humming high-tension cables they sing of clouds and time. They are fond of pairs of dominant seventh chords whose roots are separated by the consonant interval of a perfect fifth. These pairs of seventh chords occur in various transpositions throughout Roseherte, and can be conceived as combinations of two or three harmonic series with matching partials. Roseherte employs ring modulation calculations between the two dominant seventh chords occurring within a pair. In this way, the two chords are, as it were, heard in the light of each other.
All calculations were done with OpenMusic software and transformed into the orchestral score by hand and ear. The calculated frequencies underlying the instrumental score were then used for sound synthesis with Csound software. During the performance of Roseherte, a musician triggers the synthesized sounds with a sampler, while two stereo loudspeakers placed next to the orchestra on stage project the electronic sounds into the hall. The resulting flexible soundtrack amplifies the orchestral mass during the performance: It adds perspective to the orchestral sound, blends with it mysteriously as a kind of aural halo, and, then again, sets itself apart placing the orchestra, as it were, in a sound space.
Roseherte was premiered by Netherlands Radio Philharmonic Orchestra with Micha Hamel (conductor) on 8th November 2008 at Muziekgebouw aan’t IJ, Amsterdam. It was nominated for the prestigious Toonzetters prize as one of the “ten most beautiful new works of 2008“.
B i o g r a p h y: Rozalie Hirs studied composition with Louis Andriessen and Tristan Murail at the Royal Conservatoire in The Hague and at Columbia University, New York. Her recent musical works have been performed by Susan Narucki, Pierre-André Valade, Asko | Schönberg, Percussion The Hague, Bozzini Quartet, and the Netherlands Radio Philharmonic Orchestra.
Her CDs Platonic ID (2007), featuring instrumental works written for Asko | Schönberg, and Pulsars (2010), featuring electroacoustic compositions with text, appeared with Attacca records, Amsterdam. Her third CD Roseherte will appear later this year.
Rozalie Hirs has written five poetry books, Locus (1998), Logos (2002), Speling (2005), Geluksbrenger (2008), and Gestamelde werken (2012), published by Querido, Amsterdam. She performs her own electroacoustic works with text on the international poetry scene. www.rozalie.com
S e l e c t e d W o r k s: Slaaplied voor een duivel for spoken word and music box (1994), Die Parkefor three sopranos to words by Rilke (1994), Pamwefor tenor saxophone and two percussionists (1994), Yliaster for violin and piano (1995), Song for Cathyfor voice and four cellos to words by T. S. Eliot (1995), Schizofonia, electroacoustic work (1995), Myth of Er for strings, percussion and film (1996), Invisible Self for large ensemble (1996), Sacro Monte for large ensemble (1997), Well for voice, alto saxophone, keyboard, double bass and drums (1998), The Sea for voice and electronic sounds (1999), Puppy for soprano, piano and cello to words by Anne Eliott (2000), article 0: transarctic Buddha for solo percussion (2000), Book of mirrors for large ensemble to a film by Joost Rekveld (2001), For Morton Feldman, electroacoustic work (2002), a-book-of-light: incidence; lightproof; iris; lightly for large ensemble and electronic sounds (2003), In LA for six speakers or one speaker and prerecorded voices (2003; English version, 2010), article 1 to 3: the; aleph; a for piano (2003),Klangtext, Textklang for speaker and live electronics (2004, in collaboration with James Fei), article 4: landkaartje; la cartegéographique; map butterflyfor violin solo or viola (2004), Source of Blue / Bron van blauwfor singing pianist (2005), article 5: dolphin, curved time for soprano (2005), Platonic ID for large ensemble (2006), Pulsars, electroacoustic work (2007), Vlinders, grasfor four speakers (2007), Rosehertefor large orchestra and electronic sounds (2008), Poetry pieces I–III: heaven bleak; dolphin; family tree for spoken word and electro-acoustic soundtrack (2008), Curved space / Gekromderuimte for spoken word, instrumental improvisers and live processing (2009), Bridge of Babel for spoken word and electro-acoustic soundtrack (2010), Zenit for string quartet (2010), Venus: evening star; invisible; morning star for percussion sextet and electronic sounds (2010), Little Whale and the Ice / Kleine walvis en het ijs for large ensemble (2010), Arbre généalogique for soprano, ensemble and electronic sounds (2011).
Uitvoerder(s): Warsaw Philharmonic Orchestra, Pascal Rophé (dirigent)
Warsaw Autumn Warschau, Polen