Louis Andriessen (1939-2021)
Hadewijch (De Materie Part II) (1988)
pour soprano, huit voix et grand ensemble
- General information
Composition date :
- Duration : 29 mn
- Editor : Boosey & Hawkes
- Cycle : De Materie
Livret (détail, auteur) :
Septième vision d'Hadewijch, tiré de Het Visionenboek van Hadewych (néerlandais)
- Composition date : 1988
- Vocal music and instrument(s) [Solo voice(s), choir(s) and ensemble of more than 25 instruments]
- soliste : solo soprano
- ensemble de voix solistes(2 solo soprano, 2 solo contralto, 2 solo tenor, 2 solo bass voice)
- 3 flutes, 2 oboes, 2 English horns, 5 clarinets, 2 bass clarinets, contrabass clarinet, 4 horns, 4 trumpets, 4 trombones, tuba, 5 percussionists, harp, 2 guitars, electric bass, 2 electronic/MIDI keyboards/synthesizers [synthétiseurs] , 2 pianos, 2 violins, 2 second violins, 2 violas, 2 cellos, double bass
1 June 1989
Pays-Bas, Amsterdam, Muziektheater
Wendy Hill : soprano, Materie Orkest avec des membres du Netherlands Chamber Choir, direction : Reinbert de Leeuw.
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.