Profile of Louis Andriessen on Famous Like Me

Louis Andriessen (born Utrecht: June 6, 1939) is considered to be the foremost Dutch composer working today. He was born into a musical family, being the son of the composer Hendrik Andriessen (1892-1981) and brother of composer Jurriaan Andriessen (1925-1996).

Andriessen originally studied with his father and Kees van Baaren at Royal Conservatory of The Hague, before embarking upon two years study with Italian composer Luciano Berio in Milan and Berlin. His early works show experimentation with various contemporary trends: post war serialism (Series, 1958), pastiche (Anachronie I, 1966-67), and tape (Il Duce, 1973).

However it was in his reaction to the conservatism of much of the Dutch contemporary music scene that Andriessen quickly moved towards forming a radically alternative music. Since the early 1970s he has refused to write for conventional symphony orchestras and has instead opted to write for his own idiosyncratic instrumental combinations, which often retain some traditional orchestral instruments alongside electric guitars, electric basses, and congas. He helped to found the instrumental groups De Volharding and Hoketus, both of which performed, respectively, compositions of the same name. He was later to play a role in the founding of the ongoing Schoenberg and Asko ensembles.

Andriessen's music is somewhat unique in contemporary European composition for being instantly recognisable as his own, both as a result of his choices of instrumentation as well as his style, which combines the strong influence of Stravinsky alongside American minimalism. His harmonic writing however eschews the often saccharine modality of much minimalism and retains the bite of post war European dissonance, crystallised into bold blocks of sound which lend much of his music an unmistakable force. Large scale pieces such as De Staat (1972-76), for example, display a relentless energy derived in part from the big band music of Count Basie and Stan Kenton, fused with Reich-esque repetitions and bright, clashing dissonances. His music is resolutely anti-Germanic and anti-Romantic, and has continued to serve as an effective alternative to post war European serialism and its offshoots. He has also played an important role in providing alternatives to traditional performance practice techniques through often specifying forceful, rhythmic articulation and amplified, strictly non-vibrato, singing.

Other key works include Worker’s Union (1975), a melodically indeterminate piece ‘for any loud sounding group of instruments’; Mausoleum (1979) for 2 baritones and large ensemble; De Tijd [‘Time’] (1979-81) for female singers and ensemble; De Snelheid [‘Velocity’] (1982-3), for 3 amplified ensembles; De Materie [‘Matter’] (1984-88) a large four part work for voices and ensemble; collaborations with filmmaker and librettist Peter Greenaway on the film M is for Man, Music, Mozart and the operas Rosa: A Horse Drama (1994) and Writing to Vermeer (1998); and the recent La Passione (2000-02) for female voice and ensemble.

Andriessen lives and works in Amsterdam. His music is published by Donemus in the Netherlands and Boosey & Hawkes in the UK. Several of his recordings appear on the Nonesuch label.

Works list

• Nuit d'été (1957) for piano 4 hands
• Séries (1958) for 2 pianos
• Nocturnen (1959) (text by the composer) for 2 sopranos, orchestra
• Trois Pièces (1961) for piano left hand
• Ittrospezione I (1961) for piano 4 hands
• Joli commentaire (1961) for piano 4 hands
• Étude pour les timbres (1962) for piano
• Ittrospezione II (1963) for large orchestra
• Registers (1963) for piano
• Ittrospezione III (Concept II) – Fragment (1965) tenor saxophone ad libitum, 2 pianos (section of Ittrospezione III [Concept II]; may be performed separately)
• Souvenirs d'enfance (1966) for piano
• Anachronie I (1966-67) for large orchestra
• The Garden of Ryoan-gi (1967) for 3 electronic organs
• Choralvorspiele (1969) for barrel organ
• Anachronie II (1969) for oboe, small orchestra (4 French horns, harp, piano, strings), 1969; Hoe het is, 52 strings, live electronics
• Reconstructie (1969) (w/ Reinbert de Leeuw, Misha Mengelberg, Peter Schat, Jan van Vlijmen, libretto by Hugo Claus, Harry Mulisch.) Morality opera for soloists, 3 mixed choruses (4 voices each), orchestra (11 winds, 7 brass, 2 guitars, 11 keyboards, 10 strings), live electronics
• De negen symfonieën van Beethoven (1970) for ice cream bell, orchestra
• Spektakel (1970) for improvisational ensemble (saxophone [+ bass clarinet], viola, bass guitar, electronic organ [+ piano], percussion [or other instruments]), small orchestra (12 winds, 4 French horns, 6 percussion)
• In Memoriam (1971) for tape
• Canzone 3.Utinam (1972) (text from the Book of Job) for soprano, piano, 1962; Thanh Hoa (text by Nguyen Thay Mao), voice, piano
• Il Duce (1973) for tape
• Il Principe (1974) (text by Niccolò Machiavelli) for 2 mixed choruses, 8 winds, 3 French horns, tuba, bass guitar, piano
• Wals (1974) 1974 for piano
• Symfonieën der Nederlanden (1974) for 2 or more symphonic bands (minimum 32 players)
• De Staat (1972-74) (text by Plato) for 2 sopranos, 2 mezzo-sopranos, 4 oboes (3rd, 4th + English horn), 4 French horns, 4 trumpets, 3 trombones, bass trombone, 2 harps, 2 electric guitars, 4 violas, bass guitar, 2 pianos
• De Staat (1972-76) for 2 pianos (version of vocal work)
• Nederland, let op uw schoonheyt (1975) for symphonic band
• Workers Union (1975) for any loud sounding group of instruments
• Mattheus passie (1976) (text by Louis Ferron) Music theatre work for 8 mixed voices, 2 oboes (both + English horn), Hammond organ, string quartet, double bass
• Hoketus (1975-76) for 2 panpipes, 2 alto saxophones ad libitum, 2 bass guitars, 2 pianos, 2 electric pianos, 2 congas
• Orpheus (1977) (text by Lodewijk de Boer) Music theatre work for 8 mixed voices, lyricon, electric guitar, bass guitar, synthesizer, percussion
• Symphonie voor losse snaren (1978) for 12 strings
• Laat toch vrij de straat (1978) (text by Jaap van der Merwe) for voice, piano
• Hymne to the Memory of Darius Milhaud (1978) (version of chamber work)
• Felicitatie (1979) for 3 trumpets
• Mausoleum (1979 rev. 1981) (texts by Mikhail Bakunin, [[Arthur Arnould]) for 2 high baritones, orchestra (12 brass, 2 harps, cimbalom, 2 pianos, 2 percussion, minimum 10 strings, bass guitar)
• George Sand (1980) (text by Mia Meyer) Music theatre work for 8 mixed voices, 4 pianos
• Un beau baiser (1980) for mixed chorus
• De Tijd (1979-81) (text by St. Augustine) for female chorus, percussion ensemble, orchestra (6 flutes, 2 alto flutes, 3 clarinets, contrabass clarinet, 6 trumpets, 2 harps, 2 pianos, Hammond organ, strings, 2 bass guitars)
• Commentaar (1981) (text by Wilhelm Schön) for voice, piano
• Ende (1981) for 2 alto recorders (1 player)
• La voce (1981) (to a text by Cesare Pavese) for cello, voice
• Disco (1982) violin, piano
• Overture to Orpheus (1982) for harpischord
• De Snelheid (1982-83 rev. 1984) for 3 amplified ensembles
• Y después (1983) (text by Federico García Lorca) for voice, piano
• Menuet voor Marianne (1983) for piano
• Trepidus (1983) for piano
• Doctor Nero (1984) Music theatre work
• Berceuse voor Annie van Os (1985) for piano
• De Lijn (1986) for 3 flutes
• Dubbelspoor (1986 rev. 1994) Ballet music for piano, harpsichord, celesta, glockenspiel
• De Materie (1984-88)(texts from the Plakkaat van Verlatinge, Nicolaes Witsen, David Gorlaeus, Hadewijch, M.H.J. Schoenmaekers, Madame van Domselaer-Middelkoop, Willem Kloos, Marie Curie, Françoise Giroud) Music theatre work for soprano, tenor, 2 female speakers, 8 amplified mixed voices, amplified orchestra (15 winds, 13 brass, harp, 2 electric guitars, 2 pianos [one + electric piano], off-stage upright piano, celesta, 2 synthesizers, 6 percussion, minimum 9 strings, bass guitar. Two of its four sections may be performed separately as concert works: Hadewijch, De Stijl
• De Toren (1988, rev. 2000) for carillon
• Nietzsche redet (1989) (text by Friedrich Nietzsche) for speaker, alto flute, English horn, clarinet, bass clarinet, bassoon, 2 violins, viola, 2 celli, double bass, 2 pianos
• Facing Death (1990) for amplified string quartet
• Dances (1991) (text by Joan Grant, choreography by Bianca van Dillen) For soprano, small orchestra (amplified harp, amplified piano, percussion, strings). May be performed as a concert work.
• M is for Man, Music, Mozart (1991) (texts by the composer, Jeroen van der Linden, Peter Greenaway) for female jazz voice, flute (+ piccolo), soprano saxophone, alto saxophone, tenor saxophone, French horn, 3 trumpets, 2 trombones, bass trombone, double bass, piano (TV score; may be performed as a concert work with one additional song)
• Lacrimosa (1991) for 2 bassoons
• Hout (1991) for tenor saxophone, electric guitar, piano, marimba (+ woodblocks)
• Romance voor Caecilia (1991) for piano
• Nadir en Zenit (1992) improvisations on poems by Sybren Polet for voice, piano (+ synthesizer)
• ...not being sundered (1992) (text by Rainer Maria Rilke) for soprano, flute, cello
• Song Lines (1992) for 3-6 saxophones
• Deuxième chorale (1992) for music box
• The Memory of Roses (1992) for piano (+ toy piano)
• Chorale (1992) for piano
• M is Muziek, Monoloog en Moord(1993) (text by Lodewijk de Boer) Music theatre work
• Lied (1993) for piano
• Rosa: The Death of a Composer (1993-94) (libretto by Peter Greenaway) Opera for 2 sopranos, tenor, 2 baritones, female speaker, 8 mixed voices, orchestra.
• Een lied van de zee (1994) (text by Hélène Swarth) for female voice
• Zilver (1994) for flute, clarinet, violin, cello, piano, vibraphone, marimba
• Base (1994) for piano left hand
• Odysseus' Women (1995) (text by Homer, choreography by Beppie Blankert) for 2 sopranos, 2 altos, sampler
• De komst van Willibrord (1995) for carillon
• To Pauline O (1995) for oboe
• Machmes Wos (1996) for voice, piano
• Trilogie van de Laatste Dag (1996-97) (each of its three sections may be performed separately: (i) The Last Day (texts by Lucebert, folksong A Woman and Her Lass) for boy soprano, 4 male voices, orchestra; (ii) TAO (texts by Lao Tzu, Kotaro Takamura) for 4 female voices, piano [+ voice, koto], small orchestra [5 winds, 2 French horns, harp, piano (+ celesta), 2 percussion, minimum 14 strings]; (iii) Dancing on the Bones (text by the composer) for children's chorus, orchestra, 1997)
• De herauten (1997) for 3 French horns, 3 trumpets, 3 trombones, tuba, timpani
• Not an Anfang (1997) for piano
• De eerste minnaar (1998) (text by Ton Tellegen) for boy soprano, organ, 1998 (section of music theatre work Oldenbarneveldt; may be performed as a concert work)
• Tuin van Zink (1998) for viola, live electronics
• Writing to Vermeer (1997-99) (libretto by Peter Greenaway) Opera for 2 children's voices, 2 sopranos, mezzo-soprano, female chorus, orchestra (7 winds, 2 French horns, 2 trumpets [2nd + bass trumpet], 2 harps, 2 electric guitars, cimbalom, 2 pianos, on-stage harpsichord, 2 percussion, minimum 22 strings), CD (music by Michel van der Aa)
• Woodpecker (1999) for percussion
• Image de Moreau (1999) for piano
• Dirck Sweelinck Missed the Prince (1999) for harpischord
• What Shall I Buy You, Son? (2000) for voice, piano
• Boodschappenlijstje van een gifmengster (2000) (text by the composer) for vocalist (also writes), voice (may be performed as Shopping List of a Poisoner [translated by Nicoline Gatehouse]
• Inanna's Descent (2000) for mezzo-soprano, piccolo, oboe, violin, piano, 2 percussion ensembles (4-12 total players)
• The New Math(s) (2000) (text by Hal Hartley) for soprano, transverse flute, violin, marimba, CD (music by Michel van der Aa), 2000 (film score; may be performed as a concert work)
• Feli-citazione (2000) for piano
• Passeggiata in tram in America e ritorno (2001) (text by Dino Campana) for female Italian voice, 3 trumpets, 3 trombones, electric guitar, electric violin, double bass, piano, percussion, 1998 (also version for voice, flute, French horn, 3 trumpets, 3 trombones, amplified violin, double bass, piano
• De vleugels van de herinnering (2001) (text by Larissa Tiginachvili [Dutch translation]) for voice, piano
• Fanfare om te beginnen (2001) for 6 groups of French horns
• La Passione (2000-02) (text by Dino Campana) for female jazz voice, violin, small orchestra (7 winds, 7 brass, electric guitar, cimbalom, 2 pianos, synthesizer, 2 percussion, 3 violins, bass guitar)
• Very Sharp Trumpet Sonata (2002) for trumpet
• Strijkkwartet No. 2, 'Tuin van Eros' (2002) for string quartet
• Klokken voor Haarlem (2002) for piano, celesta, synthesizer, vibraphone (+ glockenspiel)
• Inanna (2003) texts by Hal Hartley, Theo J.H. Krispijn) for 4 voices, 3 actors, mixed chorus, contrabass clarinet, 4 saxophones, violin, film (by Hal Hartley)
• Letter from Cathy (2003) (text from a letter by Cathy Berberian to the composer) for female jazz voice, harp, violin, double bass, piano, percussion
• Tuin van Eros (2003) for violin, piano
• RUTTMANN Opus II, III, IV (2003) for flute, 3 saxophones, French horn, 3 trumpets, 3 trombones, double bass, piano
• Haags Hakkuh – The Hague Hacking (2003) for 2 pianos
• Racconto dall'inferno (2004) (text by Dante Alighieri) for female jazz voice, small orchestra (8 winds, 6 brass, guitar, cimbalom, 2 pianos, 2 percussion, minimum 8 strings, bass guitar)

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