componist
Roderik de Man begint betrekkelijk laat met componeren, maar ontpopt zich al snel tot een zeer productief componist. Hij legt zich vooral toe op kamermuziek en werken voor kleinere ensembles, ...
gerelateerde werken
Ecoute, écoute! : for bass clarinet and sound tracks, 1999 / Roderik de Man
Genre:
Kamermuziek
Subgenre:
Klarinet; Elektronica met verschillende instrumenten; Klarinet met elektronica
Bezetting:
cl-b tape
Genre:
Kamermuziek
Subgenre:
Gemengd ensemble (2-11 spelers); Elektronica met verschillende instrumenten; Gemengd ensemble (2-11 spelers) met elektronica
Bezetting:
fl(fl-a) bando tape
Music for marimba : 1994 / Joep Straesser
Genre:
Kamermuziek
Subgenre:
Slagwerk
Bezetting:
mar
Auburn : for guitar and tape, 1994 / Michel van der Aa
Genre:
Kamermuziek
Subgenre:
Gitaar; Elektronica met verschillende instrumenten; Gitaar met elektronica
Bezetting:
g tape
compositie
Silhouette : for percussion, tape and theatrical sculpture, 1998 / Roderik de Man
Toelichting:
Program note (English): The objective of the Beeldconcert Stichting is to initiate projects which combine visual arts with newly composed contemporary music. To this end artists who work in the field of visual arts, composers and performers are selected and invited to develop ideas for new presentations. In this case the percussionist Frederik de Winter, the visual artist Truus Wilmink and the composer Roderik de Man combined efforts to create Silhouette which had the following idea as point of departure: Plato expressed his view of fact and fiction as follows. He sees the average man as living in a cave which has an opening towards the light. Ideas, the entities of science, reveal themselves to its inhabitants by their shadows cast on the walls. The philosopher however, is man who does not content himself with just shadows but turns around looking into the light to envisage ideas in their purest form. Plato's idea is expressed visually by suggesting changes in the concrete form of the sculpture
through lighting and movement of the different planes of the object. In the music the live music plays a similar game with the prerecorded part of the composition. The tape sometimes imitates or mimics the percussionist, making it sometimes difficult to follow who is doing what, at other times it enlarges the acoustics or takes on the role of a second player or ensemble. Although the general idea is quite abstract, this did not produce an entirely cerebral piece. On the contrary, dramatic musical developments are clearly discernable and their content is not merely illustrative but intended to be self supporting. - RODERIK DE MAN