EXPERIMENT

TEST

Program:
 
Waiting for Love by Tim Povel
 
Waiting for love is a piece inspired by the Northern Indian (Hindustani) tradition of classical music, in elements including melody, harmony, rhythm and form. The piece reflects the situation of someone falling in love, yet having problems to express his/her feelings to the beloved.
 
Violin: Burcu Ramazanoglu
Hawaiian steel guitar: Hamid Behzadian
Tabla:Hendrik-Jan Groeneweg
Tanpura: Sofia Tsairidou
Conductor: Tim Povel
 
 
Make believe by Kasper de Oude
 
The text sung in this piece is just a single sentence: “Nothing but make believe will ever feel quite real again”
 
Tenor: Landry Assokoly
Trombone: Hugo Santos
Double Bass: Pedro Paposo
Electronics: Kasper de Oude
 
 
Pulmonary circulation by Carlos Castro van der Elst
 
Mezzo Sprano: Fee de Ruiter
Oboe: Federico Forla
Accordion: Robbrecht van Cauwenbergen
Piano: Gulmira Issabekova
 
 
Place by JamesAlexandropoulos-Mc Ewan
 
The Musicians are given a musical space to investigate. They are given pitches and guidelines on how to play them and how to interact with the other players. It is all about how the players place their notes in relation to the rest of the ensemble’s notes. And it’s about the musical and mental space that is them created and explored by performers and audience.
 
Accordion: Wilco Oomkes
Trumpet: Dylan Morais
Alto Saxophone: Rob Jones
Electric Guitar: James Alexandropoulos – Mc Ewan
 
 
Halocline by Lauge Dideriksen
 
A well-defined, vertical, salitary gradient in ocean or other saline water.
“Once the first avowal has been made, “I love you” has no meaning whatever; it merely repeats in an
enigmatic mode – so blank does it appear-the old message (which may not have been transmitted in these
words). I repeat it exclusive of any pertinence; it comes out of the language, it divagates – where?” - Richard Howard “A lover’s Discourse”
 
Soprano & electronics: Adina Rojas
 
BREAK
 
Aki Sareba by Renán Zelada
 
The text is taken from a collection of Japanese poetry from the 8th century called
Man’yōshū (万葉集). The author of the poem is unkown. The text translates as
follows:
When the autumn comes,
And the geese fly over
Mount Tatsuta,
Standing up, or sitting down
Ever do I think of you…
 
 
Something in between by Maria Rostovtseva
 
I have no soul. I myself and the soul
of a a grey stone. I have slept here
Until they woke me up, somebody
with a chisel and hammer carefully
tooling the surplus away.
But I am not finished. This me
is something in-between
the rock and some words,
the words something in-between
me and some wordless thoughts
in the heart of the grey rock
where time has no place,
where place has no time.
Jaan Kaplinski, from „ Night birds, Night thoughts“
 
 
Kassiani by Alexandros Gkonis
 
Kassiani is one of the first composers whose scores are both extant and able to be
Interpreted by modern scholars and musicians. Approximately fifty of her hymns are
extant and twenty-three are included in the Orthodox Church liturgical books. The
exact number is difficult to assess, as many hymns are ascribed to different authors in
different manuscripts and are often identified as anonymous. In addition, some 789 of
her non-liturgical verses survive. Many are epigrams or aphorisms called "gnomic
verse". An example: I hate the rich man moaning as if he were poor.
She was born between 805 and 810 in Constantinople into an wealthy family and
grew to be exceptionally beautiful and intelligent. Three Byzantine chroniclers,
Symeon Metaphrastes, George The Monk (a.k.a. George the Sinner) and Leo The
Grammarian, claim that she was a participant in the "bride show" organized for the
young bachelor Theophilos the Iconoclast by his stepmother, the Empress Dowager
Euphrosyne. Smitten by Kassia's beauty, the young emperor approached her and said:
"Through a woman [came forth] the baser [things]", referring to the sin and suffering
coming as a result of Eve's transgression. Kassia promptly responded by saying: "And
through a woman [came forth] the better [things]", referring to the hope of salvation
resulting from the Incarnation of Christ through the Theotokos. According to tradition,
the dialogue was:
"-Εκ γυναικός τα χείρω." (Ek gynaikos ta cheirō)-Kαι εκ γυναικός τα κρείττω." (Kai ek
gynaikos ta kreittō)
Theophilos's pride wounded by Kassia's terse rebuttal and he rejected her and
chose Theodora as his wife.
 
 
5 by Karmit Fadael
 
Zal ik nog lang in hete tranen getuigen, mijn hers verdriet?
Zal mijn jonk hert smoren in smert?
Zal mijn jonkheer in zijnen brand vergaan?
Eer dat mijn tong zijnen doet verstaan.
Mijn jeugdig aan schijn moeten banen zonder dat gij mij hulpe bied.
Met u schoon lief, is uw wreed hert gegroeid.
Met u schoon lief.
 
 
6 by Karmit Fadael
 
Ick zeg adieu, wij moeten schyden.
 
Silent Wave by Vassileios Filippou
Based on a single melody, the piece’s melismatic character and ornamentation are
influenced by Greek Byzantine chanting. In the first part the melody is sang with
silences in between each phrase with the same way gaps are used in speech to give
weight to the meaning of the words. In the second part the 6 voices are moving
independently creating unexpected diatonic harmonies. The piece ends with the first
melody sang without silences. “You came in my life like a silent wave. Silent wave. You
came in my life like a silent wave”
 
TEST in Het Nutshuis is compiled by young composers, visual artists and other live art makers. They spend an evening experimenting with the rooms in Het Nutshuis. Sound, performance, dance and multimedia for adventurous visitors.