componist

Laman, Wim

Wim Laman is als componist grotendeels autodidact. Tijdens zijn universiteitsstudie voeren studentenorkesten zijn eerste composities uit. Hierna wordt zijn werk opgemerkt door de professionele muziekwereld. Laman componeert voor o.a. het ...

gerelateerde werken

Django : for chamber ensemble, 1991 / Wim Laman

Genre: Orkest
Subgenre: Groot ensemble (12 of meer spelers)
Bezetting: 1120 0000 perc hp 2g pf 2vl vla vc cb

De haas en de schildpad : een hoketus voor twee instrumentale groepen, 1983 / Jan Rispens

Genre: Orkest
Subgenre: Groot ensemble (12 of meer spelers)
Bezetting: 1111 1000 mar vibr 2pf 2vl vla vc cb

When the Party is Over : for ensemble / Chiel Meijering

Genre: Orkest
Subgenre: Groot ensemble (12 of meer spelers)
Bezetting: 2rec pf perc str

Tut-Ankh-Amen's tomb : for large ensemble, 1993 / Chiel Meijering

Genre: Orkest
Subgenre: Groot ensemble (12 of meer spelers)
Bezetting: 3330 4sax 4661 3perc drums el.g g-b el.org synth

compositie

Pancabana : for twelve players, (1983/86) / Wim Laman

Toelichting:
Program note (English): In various cultures, past and present, numerology has an important place in thinking: it lends a pretence of rationality to the inexplicable. The classic example is of course Pythagoras: the cosmic harmony; all things, in their mutual relations, can be reduced to numeric proportions.
In Pancabana the figure 5 plays a central role, but by no means with the intention to make the music more mysterious than it is by magic tricks or secretiveness: music is and will remain a metaphor for what is going on in the world of human emotion and thought (unless that is a myth..). Directly connected with the figure 5 is a geometrical figure, a five-pointed star that can be drawn in one streak: the pentagram. This figure represents numerous symbolic meanings, and especially that of the Golden Section. The latter aspect has been of importance in Pancabana's set-up.

The work consists of 5 movements - the first and second merging into one another without interruption, and the same applies to the fourth and fifth. So for the ear it is a matter of a three-part work. In parts 1 + 2 and parts 4 + 5 the piano dominates; in the slow third part the harmonium acts as an axis of harmonies characterized by fourths.

Point of departure is 5 five-tone chords (each of these used freely within the bounds of its possibilities of inversion and transposition); 5 rhythmic figures and their mirror image; 5 melodic types.. in short, enough to suggest a straightjacket scheme. Nothing of the sort, however.

Systematism is relativized by compositorial irony - as the stern geometrical figure can be related to the human shape. An intuitive (this does not mean: irrational) handling, therefore, of self-formulated rules of play, in order to create dynamic music that may be associated, if desired, with the love-god Kâmadeva's surname - in the Bengalese 'Gitagovinda' epic -: Pancabana (= 'the Five-arrowed'), but this is neither necessity nor condition.. - WIM LAMAN