Louis Andriessen (1939)

Hadewijch (De Materie Part II) (1988)

pour soprano, huit voix et grand ensemble

  • General information
    • Composition date : 1988
    • Duration : 29 mn
    • Editor : Boosey & Hawkes
    • Cycle : De Materie
    • Livret (détail, auteur) :

      Septième vision d'Hadewijch, tiré de Het Visionenboek van Hadewych (néerlandais)

Detailed formation
  • soliste : soprano solo
  • ensemble de voix solistes(2 soprano solo, 2 contralto solo, 2 ténor solo, 2 basse solo)
  • 3 flûtes, 2 hautbois, 2 cors anglais, 5 clarinettes, 2 clarinettes basses, clarinette contrebasse, 4 cors, 4 trompettes, 4 trombones, tuba, 5 percussionnistes, harpe, 2 guitares, basse électrique, 2 claviers électroniques/MIDI/synthétiseurs [synthétiseurs] , 2 pianos, 2 violons, 2 violons II, 2 altos, 2 violoncelles, contrebasse

Creation information

  • Date : 1 June 1989
    Location :

    Pays-Bas, Amsterdam, Muziektheater


    Performers :

    Wendy Hill : soprano, Materie Orkest avec des membres du Netherlands Chamber Choir, direction : Reinbert de Leeuw.

Program note

Hadewijch is the second part of the large four-section work De Materie (Matter) but can also be performed independently.

The text is one of the visions of Hadewijch, a 13th-century Dutch mystic poetess, and expresses her passionate vision, both spiritual and erotic, of union with Him.

The composition is organised to mirror the architectural plan of the cathedral of Reims in France. The intervals of time between the chords of the pianos, tuned percussion and guitars, which ring through the canvas at set points, have the same proportional relationship as the distance in space between the cathedral’s pillars.

Louis Andriessen.