De Materie (1985-88)

various (Fl,Fl-E)

S,T,2speakers; chorus(2.2.2.2) 3.4(III,IV=corA).5.3bcl(III=dbcl).2asax.2tsax.barsax.0-4.4.4.1-perc(6):3marimbas/glsp/vib(4hands)/ 11gongs/SD/2BD/string dr/2drum sets(hi-hat,cym,8boobams and/or syn dr,SD,BD)/lg rattle/ 3lg cowbells/lg log dr/2lg metal boxes/2sets of tom-t/metal chimes(ad lib)/t.bells/lg slapstick/guiro/ bell tree/tam-t/timp/2bellplate/metal and heavy metal(eg 4car bumpers)-harp-cel-2pft-2synth-2gtr-bass gtr- strings(2.2.2.2.1)

The four sections of the work, which can be performed on stage or in concert, offer different perspectives on the relationship between matter and spirit. Part I, combining 17^th century Dutch treatises on shipbuilding and atomic theory, sets the monumental tone with 144 orchestral hammerblows forming a precisely plotted rhythmic crescendo to the first entry of the tenor. Hadewijch (Part II) is more expansive and lyrical, with a soprano exploring the mystical visions of the 13^th century prophetess Hadewijch, but again rigorously structured in medieval fashion. De Stijl (Part III) is dominated by 20^th century musical forms, most apparent in the boogie-woogie which accompanies reminiscenses of the artist Mondriaan at the dance hall. Part IV employs writings on science and death, set to a stately pavan hocketing between two groups of instruments.

"...there's no doubt that De Materie is Andriessen's finest work to date, and one of the most significant scores produced by a European composer in the last 20 years." The Guardian

"...an arresting piece that combines rigorous planning with exuberant, vigorous invention." The Observer

Poetic

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