Subgenre: Gemengd koor en orkest
Bezetting: GK4 picc 3fl 3ob 3cl 6h 4trp 3trb tb timp 5perc hp pf str
Red, white and blues : Dutch new blues pieces, for piano, 1996-2006, Volume 1
Azarova, Svitlana (componist)
Braam, Michiel (componist)
Demirel, Evrim (componist)
Dijk, Rudi Martinus van (componist)
Dramm, David (componist)
Eisenga, Douwe (componist)
Kleppe, Joost (componist)
Kruisselbrink, Astrid (componist)
Lann, Vanessa (componist)
Manneke, Daan (componist)
Nasveld, Robert (componist)
Oorebeek, Christina Viola (componist)
Polak, Mathieu Daniel (componist)
Samama, Leo (componist)
Veldhuis, Jacob ter (componist)
Some kind of blues, piano (2002) / Samama, Leo
Leaps of Faith, piano (2001/2002) / Lann, Vanessa
Frozen blues, piano (2002) / Nasveld, Robert
Prismatic blues, piano (1997) / Oorebeek, Christina Viola
Der gasn nigun, piano (2006) / Polak, Mathieu Daniel
Worms is back!, piano (1998) / Braam, Michiel
Honky tonk blues, piano (1999) / Veldhuis, Jacob ter
Valentina's blues, piano (2006) / Azarova, Svitlana
Otis plays Arnold, piano (1996) / Dramm, David
A touch of the blues, piano (1998) / Dijk, Rudi Martinus van
Blues extended, piano (2006) / Demirel, Evrim
Growing worm, stabbing his back-part slowly into the blues, piano (2001) / Eisenga, Douwe
Fado irado & Memento, piano (1999) / Kleppe, Joost
Goin' down, piano (2006) / Kruisselbrink, Astrid
Blues for Marcel, piano (2000) / Manneke, Daan
Program note (English): Around 1990 my love for both contemporary classical music and jazz resulted in a love child: the crossover of two genres, modern composed music with jazz influences. Particularly in the 1920s composers were bitten by the jazz bug; around 1990 it appeared that development of this repertoire had clearly decreased.
In my opinion commissioning composers for new works could induce a new impulse. Because the blues and the blues form captivate me, this was the starting point for these commissions.
The blues is one of the elementary foundations of jazz and its form provides the composer with a clear manual. Consequently this might increase the chance that my request would be fulfilled. Moreover, choosing the blues would provide a certain coherence between the composed pieces. The composers were free to apply the blues in their own manner.
The blue notes, the three foundation chords, the blues keys, the scheme of 12, 16 or 32 measures - could all be used, but were not a prerequisite. If necessary, there was room for improvisation. Essential was that the composer try to make the soul of the blues audible as well as the associated state of mind; each of them, of course, in their own way.
The tenth anniversary of my project New Blues for Piano, in which to date some 160 composers from 50 different countries have participated, was a good reason to publish some of the 60 new Dutch compositions in two albums. During the selection, quality was my first consideration.
Additionally, I tried to imagine if each piece could function independently, outside the framework of the blues project. In the beautiful contributions by, for example, Martin Fondse, Burton Greene and Ronald Snijders, improvisation plays such an essential role that publication of the sheet music alone would not do justice to their work. Some of the composers whose work is included are indeed not of Dutch origin, but rightfully fit in this publication because they currently live in the Netherlands. If there is one community that can be called multicultural, then it is music. - MARCEL WORMS