componist
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
Midas' tomb : for voice, string quartet and tape, 1986-89 / Wim Laman
Genre:
Vocaal
Subgenre:
Zangstem en instrument(en); Elektronica en zangstem(men) met of zonder instrument(en)
Bezetting:
medium 2vl vla vc tape
Monomania e policromia : per orchestra da camera, 1984 / Jurriaan Andriessen
Genre:
Orkest
Subgenre:
Groot ensemble (12 of meer spelers); Groot ensemble (12 of meer spelers)
Bezetting:
1111 2110 hp pf str(2-12.1-4.1-3.1-2.)
Genre:
Orkest
Subgenre:
Groot ensemble (12 of meer spelers)
Bezetting:
2fl 2ob 3cl fg 4h vc cb
Pas de deux : voor orkest, 1961, revisie 2000 / Otto Ketting
Genre:
Orkest
Subgenre:
Groot ensemble (12 of meer spelers)
Bezetting:
3333 sax-a 4331 timp 3perc hp pf(cel) 6vc
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