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
The bird of paradise : mezzo soprano, pianoforte, 1976 / text: R.D. Laing, Wim Laman
Genre:
Vocaal
Subgenre:
Zangstem en piano
Bezetting:
sopr-m pf
Leave it alone : an audioclip, for 15 players, 1994 / Gerda Geertens
Genre:
Orkest
Subgenre:
Groot ensemble (12 of meer spelers)
Bezetting:
fl(fl-a) ob cl(cl-b) fg h trp trb perc hp pf 2vl vla vc cb
Static motion : for 13 players, 1992 / Jan Rokus van Roosendael
Genre:
Orkest
Subgenre:
Groot ensemble (12 of meer spelers)
Bezetting:
1110 0000 2perc man g cimbalom hp pf vl vla vc
Postcard from Europe : for chamber orchestra, 2004 / Hanna Kulenty
Genre:
Orkest
Subgenre:
Groot ensemble (12 of meer spelers)
Bezetting:
fl cl sax-s sax-a 2h 2trb tb perc el.g el.g-b pf
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